Podcasts about Morning dew

Como en casi todos los partidos del Real Madrid, sobre todo en la Champions, los ciudadanos periodistas lo tienen muy fácil para ganar siempre. Tienen dos opciones. La primera es que el rival es muy bueno hasta que pierde, porque entonces pasa a ser una banda de desarrapados. La segunda, que el rival es muy malo. De esta forma, si el Madrid gana no tiene mérito alguno, pero si pierde el fracaso es doblemente mayor. La banca de los casinos y los ciudadanos periodistas siempre ganan. Min. 01 Seg. 45 – Intro Min. 09 Seg. 20 – El peor equipo que jamás tuvo Pep Min. 14 Seg. 20 – Pero sólo ganó por un gol Min. 20 Seg. 56 – Panenkismo resultadista Min. 28 Seg. 05 – Siempre ven el vaso medio vacío Min. 36 Seg. 45 – ¡Una banda, son una banda! Min. 41 Seg. 50 – Contra el 22º de la Champions no tiene mérito Min. 51 Seg. 28 – Si no acabaron con el ruido es que querían venderle Min. 60 Seg. 15 – Despedida Diana Krall - Cry Me A River (París 02/12/2001) Jeff Beck (Hollywood, CA 10/08/2016) Freeway Jam (con Jan Hammer) Medley: Rice Pudding > Morning Dew (con Jimmy Hall) Star Cycle (con Jan Hammer) Scared For The Children (con Rosie Bones) Rough Boy (con Billy Gibbons) I'd Rather Go Blind (con Beth Hart) A Day In The Life Joe Cocker - Cry Me A River (Saugerties, NY 13/08/1994)

2:52:43 – Frank in New Jersey, plus the Other Side. Topics include: All melted, dew point, Morning Dew, M*A*S*H, ape assistants, pile driver, FireAid, water cooler, Goodles, Nirvana reunites with guest singers at FireAid, Grateful Dead – The Closing of Winterland (Live in San Francisco, CA 12/31/78), Grosvenor Square, Moodbruck – book idea, “A Radio Station Inside […]

2:52:43 – Frank in New Jersey, plus the Other Side. Topics include: All melted, dew point, Morning Dew, M*A*S*H, ape assistants, pile driver, FireAid, water cooler, Goodles, Nirvana reunites with guest singers at FireAid, Grateful Dead – The Closing of Winterland (Live in San Francisco, CA 12/31/78), Grosvenor Square, Moodbruck – book idea, “A Radio Station Inside […]

Send us a textOn this episode, guitarist/singer/songwriter/producer Dave Alvin (The Blasters, X, The Knitters, The Third Mind, solo) digs deep into the 1969 Underground Blues compilation album. He explains how he became acquainted with the album and why it was such an important part of his introduction to the folk blues tradition. Dave also dissects the work of some of the artists featured on the album, including Lightnin' Hopkins, Jimmy Reed and John Lee Hooker. Dave talks about how one of his bands, The Third Mind, is connected to the folk blues tradition and how it's not—and he discusses their upcoming live album (Live Mind) and other possible plans for 2025.You can keep up with Dave and The Third Mind on Instagram!Dave: @davealvinoriginalThe Third Mind: @thethirdmindDave is also on Facebook at @davealvin.You can learn more about Dave's and The Third Mind's music on his website, davealvin.net.Al is on Bluesky at @almelchior.bsky.social. This show has an account on Instagram at @youmealbum. Subscribe for free to You, Me and An Album: The Newsletter! https://youmealbum.substack.com/. You can also support the show on Buzzsprout at https://www.buzzsprout.com/1542814/episodes or at the link at the bottom of these show notes.1:33 Dave joins the show2:18 Dave explains why he decided to buy Underground Blues when he was 138:16 The compilation introduced Dave to the variety of blues styles13:34 Dave talks about the uniqueness of Lightnin' Hopkins' music17:24 Dave became familiar with blues artists at a young age22:42 Dave learned a lot from being a record collector27:02 Dave explains why he initially focused on flute and sax instead of guitar32:17 Dave's time as a saxophonist has informed his guitar playing35:52 Dave enjoys the guitar interplay on the Jimmy Reed tracks41:28 Dave recounts how the man who chose the tracks for the compilation wound up becoming a close friend of his49:50 Dave talks about the origins of The Third Mind and how the lineup came together1:07:05 Dave explains the band's approach and the nature of their setlists1:12:48 The Third Mind's music is connected to the folk blues music that Dave has typically played1:21:19 Will there be a Third Mind tour in 2025?Outro music is from “Morning Dew” (live) by The Third Mind.Support the show

Just a quick one with FiG and Knob as we ring in the new year and featuring set 2 of 3/9/92!     One Jack Straw (6:00) ; West L.A. Fadeaway (8:16) ; Me And My Uncle(3:06) > Big River (6:40) ; Row Jimmy (11:09) ; Cassidy (7:03) ; Deal (9:13) Two Victim Or The Crime (7:27) ; Iko Iko (10:49) ; Corrina (11:37) > Dark Star (14:13) > Drums (12:15) > Space (14:28) > I Need A Miracle (6:33) > Morning Dew (12:50) Encore (I Can't Get No) Satisfaction (6:15)

Here's a bit of a Christmas present from the Deadpod - a great second set from December 12, 1973 at the Omni in Atlanta.  This features a fine combination of classic tunes and some unusual combos (see Mississipi Half-Step into Me & Bobby McGee, as well as Wharf Rat> Me & My Uncle>Eyes). All the songs here are first rate - the China >Rider is wonderful as is the GSET.. then we get a complete Weather Report Suite..Eyes of the World into Morning Dew is one for the ages..    Then, after this massive set, I've included the soundcheck for this show, which has some really fun versions and even some Holiday sounds! I hope you enjoy!     Grateful Dead The Omni Atlanta, GA 12/12/1973 Two      Mississippi Half-Step Uptown Toodeloo [7:23] > Me And Bobby McGee [5:06][0:12] China Cat Sunflower [6:48] > Jam [1:29] > I Know You Rider [4:57][2:01] Greatest Story Ever Told [5:10] Row Jimmy [9:05] % Weather Report Suite Prelude [1:21] > Weather Report Suite Part 1 [4:33] > Let It Grow [11:11] % Wharf Rat [9:05] > Me And My Uncle [2:48][0:18] Eyes Of The World [12:27] > Morning Dew [14:41] % Sugar Magnolia Encore      Casey Jones Soundcheck: Sleigh Ride Rip It Up Blue Suede Shoes Peggy-O Jack Straw Cumberland Blues Thirty Days You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod122024.mp3  I wish you and yours a very Merry Christmas, Happy Hanukka, and Winter Solstice! thank you for all you kindness and support...   

In this episode of Backstage Bay Area, host Steven Roby dives into the mind-bending world of The Third Mind with bassist and co-founder Victor Krummenacher.   Known for his work with Camper Van Beethoven and Monks of Doom, Victor shares the story behind the band's formation, their freeform creative process, and the making of their upcoming live concert album, Live Mind.  From their haunting rendition of “Morning Dew” to the experimental brilliance of “East West,” the conversation explores how The Third Mind pushes the boundaries of psychedelic rock. Victor also reflects on the art of improvisation, the band's collaborative dynamic, and the timeless relevance of protest songs today.  Listeners will get an insider's look at The Third Mind's upcoming shows at the Sebastiani Theatre in Sonoma and The Chapel in San Francisco, where new music and unexpected moments are guaranteed. Guest Information: Victor KrummenacherBassist, songwriter, and founding member of The Third Mind, Camper Van Beethoven, and Monks of Doom. Band website: thethirdmind.net Official website: https://victorkrummenacher.com Call-To-Action:Don't miss the chance to experience The Third Mind live! Catch them at the Sebastiani Theatre in Sonoma on December 20 and The Chapel in San Francisco on December 21. Get your tickets now: Sebastiani Theatre The Chapel Subscribe to Backstage Bay Area for more intimate conversations with the artists shaping the music scene. Follow us on YouTube and Apple Podcasts for the latest episodes. Podcast Playlist: “Sally Go Round the Roses” “Morning Dew” “East-West”   Essential Takeaways: The Third Mind thrives on improvisation, creating a unique sound by blending blues, psychedelia, and post-punk influences. Live Mind, their upcoming live album, captures the band's freeform energy and will be released in February. The Third Mind's live shows promise a mix of fan favorites, fresh material, and unexpected covers, creating an unforgettable musical experience.   Hashtags:#BackstageBayArea #TheThirdMind #VictorKrummenacher #PsychedelicRock #Improvisation #LiveMusic #MorningDew #EastWest #BayAreaMusic

Roud 11 - THE BAFFLED KNIGHT Historical guest: Steve Roud Singer Guest: Vic Gammon   Email us: intheroud@singyonder.co.uk Follow us on: Facebook Twitter   Instagram     Your host: Matt Quinn Website:  Facebook  Twitter Instagram     Historical Guest: Steve Roud Steve's books on Amazon   Singer Guest: Vic Gammon Information about Vic   Traditional recordings played: Blow the Windy Morning by Emily Bishop  Clear Away the Morning Dew by Sam Larner (album - Cruising Down Yarmouth) Hail the Dewy Morning by Cyril Barber  Among the New Mown Hay by Alfred Edgell There was a Shepherd's Boy by John Campbell   Modern versions mentioned: The Baffled Knight by The City Waites The Baffled Knight by Lucy Ward  Blow the Windy Morning by Faustus Among the New Mown Hay by Martin Carthy & Dave Swarbrick Dew is on the Grass by Lisa Knapp Stroll Away the Morning Dew by Andy Turner Blow the Winds by Eliza Carthy   Folk song recourses: Sing Yonder The Vaughn Williams Memorial Library Sussex Traditions GlousTrad Tobas an Dualchais/Kist o Riches Jon Boden's A Folk Song A Day Andy Turner's A Folk Song A Week     Record labels promoting recordings of traditional singers: Topic Records Veteran Records Musical Traditions One Row Records     Other Folk Song/Music podcasts: The Old Songs Podcast Every Folk Song Folk On Foot Fire Draw Near

A fine second set awaits you on this week's Deadpod as we explore the second set from the band's performance at the Cumberland Coutny civic Center in Portland Maine on September 17, 1982. This is a matrix recording - but the first two songs are a mix of several audience sources as the soundboard for those doesn't seem to exist.. 'Touch of Grey' and 'Man Smart, Woman Smarter' are played uptempo and crisply..Their followed by a beautiful rendition of 'High Time'; Jerry's emotive vocals just hint at how expressive this set will be.  'Estimated' follows, then a delicate 'Eyes of the World'. Following drums and space Weir teases a Spanish Jam but they eventual let Phil take the helm and lead them into the powerful 'Other One' intro.. the crowd loves it and when they finish and go into 'Goin' Down the Road Feelin' Bad' there is a fair amount of sing along..  The highlight of the set in my opinion is the tremendous version of 'Morning Dew' that follows.. Jerry is at his most expressive here.. words won't do it justice.  A fine 'Sugar Magnolia' closes the set and a 'US Blues' encore caps the evening...     Grateful Dead Cumberland County Civic Center Portland, ME 9/17/1982 - Friday Two      Touch Of Grey [6:33] > Man Smart (Woman Smarter) [5:46] ; High Time [7:16] ; Estimated Prophet [12:27] > Eyes Of The World [8:53] > Drums > Space [3:58] > The Other One [10:56] > Goin' Down The Road Feeling Bad [5:37] > Morning Dew [8:52] > Sugar Magnolia [8:43] Encore      U.S. Blues [4:58]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod091324.mp3 May the music lift you up .. thanks for your kind support.

Put on your Caps jerseys! This week, our hosts Game and FiG are heading to Landover, Maryland. On the way, they discuss the Grateful Dead's September 12th, 1987 show at the Capital Centre. Along the way, discussions abound about the dust settling on D&C's Sphere run, Brent's lack of a middle name, and the belt makes its return. Hell In A Bucket Loser Me & My Uncle Big River Ramble On Rose Just Like Tom Thumb's Blues Hey Pocky Way Cassidy Might As Well  Cumberland Blues Samson & Delilah Ship of Fools Women Are Smarter >  Drums >  Space > Truckin' >  I Need A Miracle >  Morning Dew >  Turn On Your Love Light One More Saturday Night Black Muddy River

Part 2 of my conversation with guest Phil Stacey about our favorite cover songs.  Show notes: Jay's #7: Ty Segall with a ripper of a Neil Young cover Phil's #6: The live version of a Linda Ronstadt classic Jay's #6: An indie rock all-star band playing covers the Beatles played in their early days Greg Dulli, Thurston Moore, Dave Grohl, Dave Pirner, Mike Mills and Don Fleming Phil's #5: Phish covering the Stones Phish does tons of covers Jay's #5: An unexpected '60s cover from Husker Du Phil's #4: Coltrane with a wild twist on a Rodgers and Hammerstein classic Jay's #4: Stripped down version of an English Beat hit by Pete Townshend Phil's #3: Rage Against the Machine's explosive take on a Springsteen folk song Jay: Forgot about Rollins and Bad Brains covering "Kick Out the Jams" Jay's #3: Dirtbombs with a smokin' garage punk remake of Stevie Wonder  Jay's #2: Nirvana's Unplugged show featured several great covers Phil's #1: Epic length cover "Morning Dew" by the Dead Watching old videos from the '60s and '70s to guess how old the crowd members are now Jay's #1 and Phil's #2: Mind-blowing Who cover of little-know Mose Allison song Jay: Live at Leeds is the greatest live album  All four members of the Who at the peak of their powers Completely Conspicuous is available through Apple Podcasts. Subscribe and write a review! The opening and closing theme of Completely Conspicuous is "Theme to Big F'in Pants" by Jay Breitling. Voiceover work is courtesy of James Gralian.

This week's second set from the August 6, 1971 at the Hollywood Paladium is a classic.  It opens with 'St. Stephan' - they'd only play this one five more times before 1976.. a nice 'Truckin' goes into drums, then they roar into 'The Other One' and segue flawlessly into 'Me & My Uncle' - the first time they tried this and it worked perfectly.. they then go back into the 'Other One' but if you listen you can hear a WRS prelude tease before they do... Things mellow a bit with 'Deal' but the rest of the set is just as intense with 'Sugar Magnolia' then a great 'Morning Dew' and Pigpen lets it loose with a 23 minute plus 'Lovelight'..      Grateful Dead Hollywood Palladium Hollywood, CA 8/6/1971 - Friday Two      Saint Stephen [6:16] Truckin' [6:50] > Drums [3:56] > The Other One [7:29] > Me And My Uncle [3:08] > The Other One [5:41] Deal [5:05] Sugar Magnolia [6:18] Morning Dew [10:42] Turn On Your Love Light [23:38]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod081624.mp3 Thank you for your kind support of the Deadpod!   

Life your best life like a golden dream with the Irish & Celtic Music Podcast #672. Subscribe now! Clanna Lorna, Aneta Dortová, Cleveland Celtic Ensemble, Goitse, The Ciderhouse Rebellion, Na Skylark, Larkin & Moran Brothers, The Willow Trio, Calum MacPhail, Mary Frances Leahy, Sheridan Rúitín, DLÙ, Jiggy, Luas GET CELTIC MUSIC NEWS IN YOUR INBOX The Celtic Music Magazine is a quick and easy way to plug yourself into more great Celtic culture. Enjoy seven weekly news items for Celtic music and culture online. Subscribe now and get 34 Celtic MP3s for Free. VOTE IN THE CELTIC TOP 20 FOR 2024 This is our way of finding the best songs and artists each year. You can vote for as many songs and tunes that inspire you in each episode. Your vote helps me create next year's Best Celtic music of 2024 episode. You have just three weeks to vote this year. Vote Now! You can follow our playlist on Spotify to listen to those top voted tracks as they are added every 2 - 3 weeks. It also makes it easier for you to add these artists to your own playlists. You can also check out our Irish & Celtic Music Videos. THIS WEEK IN CELTIC MUSIC 0:02 - Intro: Jill Quirk 0:16 - Clanna Morna "Virginia / Martin Wynne's #2 / Morning Dew" from From The Lowlands To The High Seas 4:27 - WELCOME 6:40 - Aneta Dortová and Emanuele De Simone "Mooncoin, Paddy Ryan's Dream, The Dawn (Jig, Reels)" from Tunes of the Travelling Dance Masters 12:35 - Cleveland Celtic Ensemble "Chì Mi Na Mòrbheanna" from Cleveland Celtic Ensemble 17:40 - Goitse "Cave of the Wild Horses" from Rosc 21:02 - The Ciderhouse Rebellion with Molly Donnery "An Spealadóir" from A Little Bit Slanted Pronunciation: An Spealadóir  -  uhn spal - a - door 24:57 - FEEDBACK 27:13 - Na Skylark "An Cailin Deas Og" from Old Ceol Pronunication: An Cailin Deas Og  -  uhn Ka - leen das  -  owg 32:10 - Larkin & Moran Brothers "Parnell Renegades" from Éistigí Pronunciation: Éistigí  -  Aysht - a - gee 35:13 - The Willow Trio "Golden Toad" from single 39:39 - Calum MacPhail "Bonnie Wee Jeannie" from single 41:55 - THANKS 44:53 - Mary Frances Leahy "Cheerio" from First Light 48:07 - Sheridan Rúitín "The Foggy Dew" from Rebels in the Night 53:10 - DLÙ "Mhic Iain 'ic Sheumais" from Close To 56:41 - Jiggy "Eilean" from Single 1:00:36 - CLOSING 1:01:43 - Luas "Wonky Driveway" from Wonky Driveway 1:04:49 - CREDITS The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather and our Patrons on Patreon. The show was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. Visit our website to follow the show. You'll find links to all of the artists played in this episode. Todd Wiley is the editor of the Celtic Music Magazine. Subscribe to get 34 Celtic MP3s for Free. Plus, you'll get 7 weekly news items about what's happening with Celtic music and culture online. Best of all, you will connect with your Celtic heritage. Please tell one friend about this podcast. Word of mouth is the absolute best way to support any creative endeavor. Finally, remember. Reduce, reuse, recycle, and think about how you can make a positive impact on your environment. Promote Celtic culture through music at http://celticmusicpodcast.com/. WELCOME THE IRISH & CELTIC MUSIC PODCAST * Helping you celebrate Celtic culture through music. I am Marc Gunn. This podcast is for fans of Celtic music. Not just the big names you've probably heard of. But also the Celtic bands in your neck of the woods, at your festivals. It is here to build a diverse Celtic community and help the incredible artists who so generously share their music with you. If you hear music you love, please email artists to let them know you heard them on the Irish and Celtic Music Podcast. Musicians depend on your generosity to keep making music. So please find a way to support them. Buy a CD, Album Pin, Shirt, Digital Download, or join their communities on Patreon. You can find a link to all of the artists in the shownotes, along with show times, when you visit our website at celticmusicpodcast.com. We are looking for Celtic designs for the podcast in 2025? Do you create Celtic art? Send me some designs. Perhaps your Celtic creativity will be featured by the podcast next year. If you are a Celtic musician or in a Celtic band, then please submit your band to be played on the podcast. You don't have to send in music or an EPK. You will get a free eBook called Celtic Musicians Guide to Digital Music and learn how to follow the podcast. It's 100% free. Just email Email follow@bestcelticmusic and of course, listeners can learn how to subscribe to the podcast and get a free music - only episode. THANK YOU PATRONS OF THE PODCAST! You are amazing. It is because of your generosity that you get to hear so much great Celtic music each and every week. Your kindness pays for our engineer, graphic designer, Celtic Music Magazine editor, promotion of the podcast, and allows me to buy the music I play here. It also pays for my time creating the show each and every week. As a patron, you get ad - free and music - only episodes before regular listeners, vote in the Celtic Top 20, stand - alone stories, you get a private feed to listen to the show or you can listen through the Patreon app.  All that for as little as $1 per episode. A special thanks to our new and continued Celtic Legends: Bruce, Brian McReynolds, Marti Meyers, Brenda, Alan Schindler, Karen DM Harris, Emma Bartholomew, Dan mcDade, Miranda Nelson, Nancie Barnett, Kevin Long, Gary R Hook, Lynda MacNeil, Kelly Garrod, Annie Lorkowski, Shawn Cali HERE IS YOUR THREE STEP PLAN TO SUPPORT THE PODCAST Go to our Patreon page. Decide how much you want to pledge every week, $1, $5, $25. Make sure to cap how much you want to spend per month. Keep listening to the Irish & Celtic Music Podcast to celebrate Celtic culture through music. You can become a generous Patron of the Podcast on Patreon at SongHenge.com. TRAVEL WITH CELTIC INVASION VACATIONS Every year, I take a small group of Celtic music fans on the relaxing adventure of a lifetime. We don't see everything. Instead, we stay in one area. We get to know the region through its culture, history, and legends. You can join us with an auditory and visual adventure through podcasts and videos. Learn more about the invasion at http://celticinvasion.com/ #celticmusic #irishmusic #celticmusicpodcast I WANT YOUR FEEDBACK What are you doing today while listening to the podcast? Please email me. I'd love to see a  picture of what you're doing while listening or of a band that you saw recently. How are you listening to this podcast? I'd love to know that as well. The show is available on a bunch of podcast apps like Apple Podcast, Amazon Music, Podcast Addict, iHeartRadio, Player.FM, Pocket Casts, Cast Box, Pandora, Podbean, and my favorite Overcast Email me at follow@bestcelticmusic. William Sneddon sent photos of the St Patrick's Day Parade in New York City up 5th Avenue!.   Jim Berkin emailed some photos and wrote: "Some friends and I spent yesterday with Pittsburgh's Bastard Bearded Irishmen. The group travels well and always puts on a great show. Happy belated birthday Marc!!!" Danna Hotmar emailed a photo. Christopher Patrick of FitzBlarney emailed a photo and wrote: "Hello, Marc! What a weekend! I personally hosted my annual St. Patrick's (Eve) party and had house FULL of revellers for food, drink, music, and fun! But Sunday, On Saint Patrick's Day itself, my family band, FitzBlarney, played out live to a great crowd at Gentile, (Pr. 'Jentilly,') Brewery, in Beverly, MA. A small, family - run operation open to families, kids and even dogs! Just like a proper parlour! Big crowd, lotsa fun. I spent it surrounded by friends and family, music, beer, and laughs. Couldn't ask for better. Attached is a shot of us playing that afternoon! Hope yours was as much fun as ours"   James Lochar emailed a couple St Pats photos

Playlist includes: good tracks and zero cohesivity. Enjoy! Bonnie Dobson - Morning Dew Yeah Yeah Yeahs - Sheena Is A Punk Rocker Prince Fatty, Shniece McMenamim - White Rabbit/ Underwater Love Celesete Carballo - El Arbolito - Live Peaches - Search And Destroy Jonah Yano - Romance ESL Johnny Adams - Even Now  Justice, Connan Mockasin - Explorer DOOPEES - Auntie Kim Sings "Now That You've Gone"/ Love Songs The Yardbirds - For Your Love  Tim Maia - Ela Partiu Eaves Wilder - Are You Diagnosed Nina Miranda - água

Going on down to Town Park, gonna have ourselves a time. This week, our hosts Game, FiG, and Knob are headed to Telluride, Colorado for the Grateful Dead's August 15th, 1987 show at Town Park. Discussions abound about midi fiddle, Bob Dylan lyrics, and a bite-sized Scarlet > Fire. Feel Like A Stranger > 
 Franklin's Tower
 New Minglewood Blues
 Candyman
 Me and My Uncle > 
 Big River 
Tennessee Jed
 Desolation Row
 Deal  Scarlet Begonias > 
 Fire On The Mountain > 
 Looks Like Rain
 Eyes Of The World > 
 Drums >  Space > 
 I Need A Miracle > 
Bertha >
 Morning Dew > 
 One More Saturday Night It's All Over Now Baby Blue

This week, we talk to comedian/actor Andy Kindler (Bob's Burgers, Late Night w/ David Letterman, Maron, Everybody Loves Raymond) & Mike Lisk (executive producer of The Best Show w/ Tom Scharpling and host of Egg Foo What?!) about a documentary whose subject matter is dear to both of their hearts (yet full of confusion and mystery for host Chris Slusarenko), The Grateful Dead documentary series, LONG STRANGE TRIP. These two have a history with each other, and out of the gate, an old Zappa argument and apology appear out of nowhere, and then it's off to the races. We discussed whether Bob Weir is essential to the band, the stage banter of the Grateful Dead, Andy's 70s rock band TransFusion, their viewpoints on Pigpen—the original rapper, which of the two drummers had the goods, Mountain Dew vs. Morning Dew, Andy's LSD induced concert going-ons and his naked prog-rock band stories, Mike's experience of almost being trampled at a Grateful Dead concert, pocket pool advice from the band, Tom Scharpling, Robert Hunter's lyrics, Donna & Keith, Mike meeting Garcia as a teenager, sneaking drugs into concerts, digitally erasing crowd nudity from concert footage, why they think they are the quintessential American band, The Velvet Underground and the dissonance of the Grateful Dead, Disco Dead, Marvin Gaye, can you be a cynic and give yourself over to the band, losing punk rock friends to the Dead, Altamont, tape trading, Europe '72, the sadness in the Jerry Garcia story, Hot Tuna, The Warlocks, Dead & Co., how the documentary is critical of a portion of their fan base, the Dead telling their fans to stop being assholes, Mickey Finn's father ripping the band off, the Phil Zone and Mike gives us a crash course on the essential shows and recordings to listen to.So let's time your trip perfectly on this very funny yet heartfelt episode of Revolutions Per Movie.ANDY KINDLER:twitter.com/AndyKindlerMIKE LISK:thebestshow.netEgg Foo What: https://podcasts.apple.com/us/podcast/egg-foo-what/id1635904703REVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.Revolutions Per Movies releases new episodes every Thursday. If you like the show, please subscribe, rate, and review it on your favorite podcast app.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. There, you can get weekly bonus episodes and exclusive physical goods just for joining.SOCIALS:@revolutionspermovieX, BlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.comARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

"Deadhead Adventures: From Minneapolis to Alpine Valley"Larry Mishkin delves into a nostalgic recount of a Grateful Dead concert he attended on June 17, 1988, in Minneapolis, part of their Midwest Summer Tour. He reminisces about attending the show with friends Mikey and JT, detailing their travel adventures and the concert's setlist, which included memorable performances of "Hell in a Bucket" and "Far From Me."Larry also shares personal anecdotes about his experiences following the Grateful Dead, including the challenges of balancing concert trips with his professional life and the thrill of attending multiple shows in a short span. He transitions into discussing the significance of the song "Hell in a Bucket," its debut, and its frequent performance as a show opener. He explains the concept of "Mondegreens," humorous misheard lyrics, using an example from a Grateful Dead song review.The show revisits a story about a Phish fan who was initially banned from all Madison Square Garden Entertainment venues for smoking a bong at the Sphere. MSG later rescinded the ban, citing an internal error. Larry expresses surprise and amusement at the quick reversal and discusses the implications for fans.Finally, Larry discusses the resale of Dead & Company tickets for their Las Vegas Sphere shows, noting that many are being sold at face value or below on cashertrade.org. He expresses mixed feelings about fans having to sell tickets at a loss but appreciates the platform's role in preventing scalping.  Grateful DeadJune 17, 2024 (36 years ago)Met CenterMinneapolis, MNGrateful Dead Live at Metropolitan Sports Center on 1988-06-17 : Free Download, Borrow, and Streaming : Internet ArchiveAudience Tape First show of the 1988 Midwest Summer TourWith my good buddies Mikey and JT – weekend in Minny, Friday night show but had to stay until Sunday to fly home because if you stayed over a Saturday night, round trip airfare was much less expensive.  Got home on Sunday and headed straight for Alpine Valley for the first of four shows S, M, W, Th.  Each night headed home, slept for 4 hours, got up for work, left work at 3 p.m., ride the El to the middle of the Kennedy Expressway at Addison, hop in a car and drive straight up.  Fight the crazy post show traffic in that horridlbe parking lot (unless you have one-armed Lary as your driver).  Hardcore.  My law firm didn't know what to make of it.  I got in four shows at home with no vacation days taken! INTRO:                                 Hell In A Bucket                                                Track #2                                                0:00 – 1:34                [From David Dowd]:  The Bob Weir / John Barlow / Brent Mydland song “Hell in a Bucket” directly references the biker scene, and I'm sure that somehow Barlow just wanted to put that element into the band's repertoire somehow. After all, there are plenty of outlaw elements sprinkled through the band's songs.           “Bucket” debuted on May 13, 1983, at the Greek Theater in Berkeley. Alice Kahn wrote a review of the show, in which she promulgated one of the best-ever Mondegreens, referring to the song as “Police on a Joy Ride.” The song frequently featured as the show opener over the course of the next two-plus decades, although it wasn't used in that role until about a year after its first performance. It was performed by the Dead for the final time on June 30, 1995, at Three Rivers Stadium in Pittsburgh, Pennsylvania.“Hell in a Bucket” appeared on In the Dark, released in July 1987 (aka Touch of Grey album).Played:  217 timesFirst:  May 13, 1983 at William Randolph Hearst Greek Theatre, Berkeley, CA, USALast:    June 30, 1995, at Three Rivers Stadium in Pittsburgh, PennsylvaniaSHOW No. 1:                    Far From Me                                                Track #6                                                3:18 – 4:45Brent MydlandGo To Heaven (April 28, 1980)Strong Brent tune.  I saw them open the second set with it a my second show ever (also with my buddy Mikey) in the Carrier Dome on September 24, 1982, the night I got on the bus forever.Played: 74 timesFirst:  March 30, 1980 at Capitol Theatre, Passaic, NJ, USALast:  July 22, 1990 at World Music Theatre, Tinley Park, IL, USA (the night before Brent's last show).  It died with him.MUSIC NEWS:MSG ENERTRAINMENT REDACTS INDEFINITE VENUE RESTRICTION FOLLOWING PHISH FAN BONG/SPHERE CONTROVERSY 2.     Dead & Company Sphere Tickets Listed for Face Value or Below on CashorTrade! Dead & Company announced 24 dates at the Las Vegas Sphere, and many fans eagerly bought tickets. Now, some can't attend and are selling their tickets at face value or less on CashorTrade.org. Built by fellow Deadheads in 2009 to protect fans from scalped tickets, 3.     Roger Daltrey Shares Thoughts on Sharing Setlists Online and More, Ahead of The Voice of The Who Tour - Touching on his feeling toward revealing the contents of a performance online, Daltrey asserted, “I'm not gonna talk about songs.” Providing reasoning, he added, “Too many people reveal songs. There's no surprises left with concerts these days, 'cause everybody wants to see the setlist. I'm f–king sick of it. The Internet's ruined the live shows for me. Who wants to know what's coming next? People forget about surprises. I can't stand it.  Here's an idea for Roger – don't play the exact same show every night!  Mix up your songs and then set lists can only give you probabilities of what might get played.  See the Grateful Dead, Phish and every other jam band ever. 4.     As promised last week, here are the deets on Trey playing with Billy Joel in MSG last week:  Madison Square Garden residencies have long been a career-defining staple of the New York City live entertainment location, with names like Billy Joel and Phish dominating multi-night show cycles, making the venue a known place to catch a memorable Big Apple performance. However, last night's performance was a truly unique event, a planned convergence for the two title-holders, Joel and Phish's Trey Anastasio. They teamed up on select songs, including “Sleeping With the Television On,” a cover of Derek and the Dominos' “Layla” and night closing “You Might Be Right,” featuring a Led Zeppelin “Rock and Roll” insert, sung by Mike DelGuidice.                                                 SHOW No. 2:                    Victim Or The Crime    (First time played)                                                Track #9                                                0:00 – 2:13 (long clip but it's the first time played so I had to run with it)                 Written by Bob Weir and Gerrit Graham                               Garcia – “It's one of Weir's stunningly odd compositions, but it's also very adventurous. It's uncompromising; it's what it is, and the challenge of coming up with stuff to play that sounds intelligent in the context has been incredible, but also appropriately gnarly. I really wanted that part of it to work.I think we did a nice job on the record with it. It works. Whatever it is, it works. I'm real happy with it because it was one of those things that was like, "What are we going to do with this?" It's like having a monster brother that you lock in the attic. It's like a relative that you -- "God, I hope nobody comes over when he's eating...." But that's one of the things that makes the Grateful Dead fun.”             “The text of it -- I don't believe I've ever actually listened to all the words to it. Ever. I have the gist of it; by now I probably could recite it if I really had to, but the text of it is more of the same in a way, it doesn't have a whole lot of light in it. It's very dense, and it's angst-ridden to boot.”             Played 96 times, “Victim” debuted on June 17, 1988, at the Metropolitan Sports Center in Bloomington, Minnesota THIS SHOW. It remained in the rotation thereafter, and was played for the final time on July 2, 1995 at Deer Creek Music Center in Noblesville, Indiana.    SHOW No. 3:                    All Along The Watchtower                                                Track #19                                                1:22 – 3:22  (another long one but could not break up the jam)                 "All Along the Watchtower" is a song by American singer-songwriter Bob Dylan from his eighth studio album, John Wesley Harding (1967). The song was written by Dylan and produced by Bob Johnston.             Covered by numerous artists, "All Along the Watchtower" is strongly identified with the interpretation Jimi Hendrix recorded with the Jimi Hendrix Experience for their third studio album, Electric Ladyland (1968). The Hendrix version, released six months after Dylan's original recording, became a Top 20 single in 1968, received a Grammy Hall of Fame award in 2001, and was ranked 48th in Rolling Stone magazine's 500 Greatest Songs of All Time in 2004 (40th in the 2021 version). Dylan first played the song live in concert on the Bob Dylan and the Band 1974 Tour, his first tour since 1966. His live performances have been influenced by Hendrix's cover, to the extent that they have been called covers of a cover. The singer has performed the song live more than any of his other ones, with over 2,250 recitals.             I always loved the Dead's cover of this tune.  As you heard in the clip, it is a rocking tune and Jerry would really jam hard on it.  Great snappy second set tune that would always get the crowd moving in the next gear.  Played:  118 timesFirst:  June 20, 1987 at William Randolph Hearst Greek Theatre, Berkeley, CA, USALast:  June 22, 1995 at Knickerbocker Arena, Albany, NY, USA  MJ NEWS 1.        Biden Admin Is ‘Mischaracterizing' Marijuana Rescheduling Impact As Big Pharma Is ‘Waiting In The Wings,' Former Massachusetts Regulator Says (Marijuana Moment) 2.       GOP Congressman Says ‘Millions Of Marijuana Users' Own Guns And Shouldn't Face Prosecution Like Hunter Biden Did 3.    Marijuana Rolling Paper Company Will Pay $4.20 To Volunteers To ‘Smoke Joints For Science'  SHOW No. 4:                    Black Peter                                                Track #20                                                1:36 – 3:11                 Garcia/Hunter tune released on Workingman's Dead in 1970.                  Robert Hunter was not afraid of death; he experienced it a thousand times over. The American musician composed the lyrics to many of The Grateful Dead's most successful songs and played an essential role in curating the band's mythos, one that saw the psychedelic rock outfit earn hordes of dedicated fans, or ‘deadheads'. One such song was ‘Black Peter' – written for the band's 1970 album Workingman's Dead.          By 1969, The Dead were practically synonymous with the liberal drug culture of the hippie era. In the June of that year, Robert Hunter and the gang were given a glass of apple juice laced with “probably a full gram of crystal LSD … worth perhaps $50,000.” The intense trip that followed would completely reinvigorate Hunter's understanding of death and influence his subsequent lyrics for ‘Black Peter'. Bassist Phil Lesh would later recall tasting the LSD in the juice after a single sip: “I wish you could be where I am right now—it's so beautiful,” he told drummer Mickey Hart, “but I couldn't possibly play music now. I don't even know what music is.” Still, there was a job to do, so the band played anyway. In the ‘80's and ‘90's, one of Jerry's rotating post-drums second set ballads along with Morning Dew, Wharf Rat and Stella Blue. This version was one of the highlights of this show.  Jerry's voice is strong if not a bit “ragged” around the edges just the way Deadheads liked it, with just enough emotion to really convey the song's meaning and its statement about the end of life. Played: 351 timesFirst: December 4, 1969 at Fillmore West, San Francisco, CA, USALast:  June 22, 1995 at Knickerbocker Arena in Albany, NY  OUTRO:                               Black Muddy River                                                Track #23                                                4:09 – 5:55  Played:  66 timesFirst:  December 15, 1986 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USALast:  July 9, 1995 at Soldier Field, Chicago, Il – looked like it was going to the last song of the show (encore) and the last song of the difficult summer tour.  Turns out, it could have been the last song ever played in concert by the Dead, until Phil stepped in to leave everyone with a smile on their face and no bad taste in their mouths with a great second encore Box of Rain which then became the last song ever played by the Dead in concert. By contrast, this version is outstanding with strong playing and singing by Jerry.  And, with the show practically on the banks of the Mississippi, it was a geographically appropriate song for the venue. Mikey, JT and I rolled off into the night, a crazy weekend in Minny, and then the next four shows on the tour at Alpine.  Ah, to have the kind of energy again, even if just for a night.  Thank you psychedelics!! Enjoy the Summer Solstice and the beginning of summer. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

"From Morning Dew to Dark Star: The Grateful Dead's Masterpiece Concert in 1973"Larry Mishkin's featured concert is the Grateful Dead's legendary performance at Robert F. Kennedy Stadium on June 10, 1973. This show is celebrated as one of the band's greatest, partly because of its remarkable opening with "Morning Dew," a song that symbolized the special nature of the event. The concert, part of a two-day festival with the Allman Brothers Band, included an extraordinary setlist and performances that have become iconic.The show started with "Morning Dew," a rare and significant opener, setting the tone for the night. The first set included 13 songs, ending with an 18-minute "Playing in the Band." The second set opened with a 22-minute "Eyes of the World," followed by Jerry Garcia singing "Morning Dew," "Stella Blue," and "Warfrat," which was a rare combination for a single show. The set also featured a 12-minute "Bird Song" and an 11-minute "Here Comes Sunshine," showcasing the band's range and intensity.A highlight of the concert was a 26-minute "Dark Star" that led into a sequence of "He's Gone," "Warfrat," "Truckin'," and "Sugar Magnolia," making for an over-hour-long jam to close the second set. The encore was equally impressive, featuring eight songs with guest performances by Dicky Betts and Butch Trucks from the Allman Brothers Band. This show exemplified the Grateful Dead's ability to create a transcendent musical experience.Larry also discusses the song "Wave That Flag," played for the last time at this concert, which evolved into "US Blues." This track, notable for its evolving lyrics and style, was a precursor to a fan-favorite encore tune.In music news, Larry highlights the release of Widespread Panic's new LP, "Snake Oil King," their first in nine years, set to be released on June 14, 2024. The band, known for their jam band status, recorded the album at John Keane Studio in Athens, Georgia, and it features six tracks with high-quality vinyl mastering.The discussion also touches on Dead and Company's recent performances at the Sphere in Las Vegas, noting the innovative visuals and varied setlists. The band continues to break out new tunes and maintain the excitement of live shows.Finally, a humorous note mentions a Phish fan who was banned from all MSG venues for posting a video of himself taking a bong hit inside the Sphere during a concert, highlighting the strict enforcement of venue policies. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Our series, ‘Clare Women in Business', seeks to showcase the accomplishments of women in business, foster gender equality, and inspire future generations of female leaders. This week, Pat Flynn meets Nadaa Hyder, co-founder of Morning Dew in Corofin.

Hour 2 - Jacob & Tommy roll into hour2 with http://GoPowerCat.com's Tim Fitzgerald  who checks in to talk the latest on the Kentucky coaching list and more.

Live from Beale Street, Memphis,,,A life changing show in Philly....Cold Rain & Snow for those traveling through treacherous weather,...The only time the Grateful Dead played Shakedown, Terrapin, Morning Dew, and Sugar Mag in the same show.

The 400th: Morning Dew

This week, Mike plays only Morning Dews as 2x returning champ Brett is joined by Reed, The Old Goat, and Tom. Thanks to candle shop Mundane for providing this week's prize pack. And, as always, thank you to 30k ft. for creating the show poster. To be a contestant, sponsor the show, provide a prize pack, or ask questions/make comments, please email: info@guesstheyear.net More Links Mundane's Website Mundane's Instagram Guess the Year's Instagram 30k ft's Instagram

Rhyming, joyful verse and vibrant illustrations describe young Jesse Bear's activities from morning to bedtime. Written by Nancy White Carlstrom Illustrated by Bruce Degen Musical Credits: "Morning Dew" by Arthur Vyncke Buy the book HERE --- Support this podcast: https://podcasters.spotify.com/pod/show/samantha-wanagel/support

Featured Music: E Ku'u Morning Dew (Words by Larry Kimura, music by Eddie Kamae)   Anthony Kauka Stanley Kala Ukeleles – Artist Highlight YouTube Channel Instagram @anthonykauka Center For World Music – Teaching Artist Spotlight Full episode: https://languageofcreativity.podbean.com/e/thekindnesswarriors-anthonykaukastanley-kalaukulele/

Who wants to be described as dew or chaff? These things fade away without leaving any lasting impact. In this Bible study on Hosea 13, we learn to use our influence, creativity, and indeed everything we have for the Lord.The minor prophets can be hard to understand at first glance, but when you look deeper you will find they quite practical and offer life transforming principles we can apply today.Hosea 13 Bible study companions questions available on our website - https://studyandobey.com/inductive-bible-study/hosea-studies/hosea-13/13 Free Hosea Bible study written lessons - https://studyandobey.com/inductive-bible-study/hosea-studies/Hosea Bible study guide e-book for individuals or small groups. Includes discussion questions for each passage in Hosea - https://studyandobey.com/product/hosea-bible-study-guide/Our Hosea Bible study guide paperback on Amazon - https://amzn.to/3ZUYkLSStudy and Obey's Bible study guides on Amazon -https://amzn.to/48SgPEN(As an Amazon associate, I earn from qualifying purchases.)Study and Obey Free Weekly Podcast on Apple - https://podcasts.apple.com/us/podcast/study-and-obey/id1571266150Our website of 800+ practical and free Bible studies - https://studyandobey.comSupport this ministry -https://studyandobey.com/support/25+ Bible study guides for individual or group study on many different books of the Bible - https://studyandobey.com/shop/Support the show

Tour prep and set list psychology...Beyond imagination in Worcester...Elvis in Augusta...the pros and cons of set list design...Final On the Road Again...Seems like 1973, the grand masterpiece UJB > Drums > Space > Playin > UJB > Morning Dew...Album of the Week: Otis Rush Live at the Wise Fools Pub

This week's Deadpod returns for the second set of the band's performance at the Oakland Coliseum Arena on December 27th, 1989.  Clarence Clemmons makes a surprise appearance on the opening Iko, Iko and adds a great touch here as the band gets the crowd wound up for what is a fine second set. A spacey 'Playin' In the Band' follows - with some extraterrestrial exploration before going into a lovely 'Crazy Fingers'. 'Uncle John's Band' caps off the pre-drums set. The post-drums is highlighted by a truly wonderful 'Morning Dew'.. there was an issue with Jerry's sound at the end but that really doesn't detract from what is a great version.  The boys then surprise the crowd with a double encore -'Johnny B. Goode' and 'Black Muddy River'..   Grateful Dead 1989-12-27 Oakland Coliseum Arena - Oakland, CA Two     Iko Iko [7:43] Playing In The Band [13:11] > Crazy Fingers [8:22] > Uncle John's Band [8:40] > Drums [11:#05] > Space [8:20] > The Wheel [5:01] > I Need A Miracle [3:49] > Morning Dew [11:41] Encore     Johnny B. Goode [3:49] Black Muddy River [5:55]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod010524.mp3 I hope your New Year has started out great!  thank you for your kind support. 

Episode #318 of BGMania: A Video Game Music Podcast. This week on the show, Bryan and Bedroth from RPGera celebrate all of the amazing games and soundtracks that were released last year with our annual Best of 2023! Email the show at bgmaniapodcast@gmail.com with requests for upcoming episodes, questions, feedback, comments, concerns, or whatever you want! Special thanks to our Executive Producers: Jexak & Xancu. EPISODE PLAYLIST AND CREDITS What's Buried Should Stay from Wizard With a Gun [Ryan Ike, 2023] Nightsong from Baldur's Gate 3 [Borislav Slavov feat. Mariya Angelova, 2023] Badge Challenge from Super Mario Bros. Wonder [Koji Kondo, Shiho Fujii, Sayako Doi & Chisaki Shimazu, 2023] Challenging a Queen from Stray Gods: The Roleplaying Musical [Austin Wintory feat. Laura Bailey & Mary Elizabeth McGlynn, 2023] Envers from Chants of Sennar [Thomas Brunet, 2023] Drops of the Morning Dew from A Space for the Unbound [Masdito Bachtiar & Christabel Annora, 2023] Main Theme from Tchia [John Robert Matz, 2023] Founder's Footsteps from Final Fantasy XVI [Masayoshi Soken, 2023] Will I Fly -Isidora's Song- from Hogwarts Legacy [Chuck E. Myers, J. Scott Rakozy & Peter Murray feat. Dune Moss, 2023] Demon Dragon -Final Boss Battle- from The Legend of Zelda: Tears of the Kingdom [Manaka Kataoka, Maasa Miyoshi, Masato Ohashi & Tsukasa Usui, 2023] DCP Headquarters - A Hero's Welcome from Prison City [Matt Creamer, 2023] Power of Friendship from In Stars And Time [Lindar K. Greenwood, Sandra Baker, Sadie Robison & Alice Liston, 2023] Crime Busting With a Smile! from PARANORMASIGHT: The Seven Mysteries of Honjo [Hidenori Iwasaki, 2023] Herald of Darkness from Alan Wake 2 [Old Gods of Asgard/Poets of the Fall feat. Matthew Porretta, David Harewood & Sam Lake, 2023] SUPPORT US Patreon: https://patreon.com/rpgera CONTACT US Website: https://rpgera.com Discord: https://discord.gg/cC73Heu Twitch: https://twitch.tv/therpgera Twitter: https://twitter.com/OriginalLDG Instagram: https://instagram.com/bryan.ldg/ Facebook: https://facebook.com/leveldowngaming RPGERA PODCAST NETWORK Very Good Music: A VGM Podcast The Movie Bar --- Send in a voice message: https://podcasters.spotify.com/pod/show/bgmania/message

Happy New Year! Enjoy the top ten finest GD New Year's performances in a timeless countdown. Celebrate the holiest day of Deadology. Featured versions include, The Eleven, Dark Star, Morning Dew, Eyes of the World, and much more.Books by Howard F. WEINER @ https://www.tangledupintunes.com

Dense one here. Politic talks begin to make Falconia sound like the place to be. On Elf Island, Casca is getting back into fighting form even though she still can't stand to be around Guts proper without PTSD triggers. Guts learns more about Skull Knight from his armor and an old "friend" pays the island a visit... The bittersweet finale for Kentaro Miura. Rest in piece and thank you for what you've dreamed up. Chapters discussed: 358. "Dawn of an Empire" 359. "Barrier" 360. "Cherry Orchard" 361. "Ravine" 362. "Vision of Death" 363. "Leaping Monkey" 364. "Teardrop of Morning Dew"

Te presentamos el primer adelanto de lo que será el próximo álbum de La Perra Blanco, disco en donde la gaditana se adentra en nuevos territorios sonoros sin perder la ferocidad que la ha convertido en una de las figuras más valoradas del actual 50’s rock’n’roll. Picoteamos entre las novedades presentadas en este mes que se acaba en busca de algunos artefactos favoritos. Playlist; LA PERRA BLANCO “Treat me (Like a man should do)” (adelanto del álbum “Get it out”) BAD BONE STOMPERS “Bad bone dance” (EP, 2023) BLOODSHOT BILL “Horror movies on TV” (Trick or treat vol. 2, 2023) THE CAPELLAS “Take your chance” (EP, 2023) THE LIMBOOS “The guest” (adelanto próximo álbum) ARIZONA BABY “Lonely road” (Salvation, 2023) TREVOR HORN feat IGGY POP “Personal Jesus” WEIRD OMEN “Shake shake” (Weird Omen, 2023) DION LUNADON “I walk away”” (Systems edge, 2023) NOAH and THE LONERS “Hell of a day” (single, 2023) ESCOMBROS “El hombre polilla (mothman)” (Por alusiones, 2023) MORNING DEW “Go away” (reed 2023) HOWLIN JAWS “Lost songs” (Half asleep, half awake, 2023) FOGBOUND “Garden of the unseen” (single, 2023) ADIÓS AMORES “Caras nuevas” (El camino, 2023) TIBURONA “Horizonte de sucesos” (adelanto del álbum “Nos extinguimos”) RICKY GIL and BISCUIT “Els snobs” (Artifacts sonors del underground catalá, 2023) Escuchar audio

Disco destacado para el debut homónimo de Je'Texas, trío de Austin que maneja un blues psicodélico que parte de algún punto de la carretera que conecta a Hendrix con The Who. Cat Power adelanta canciones de su disco en directo en homenaje al concierto de Dylan en 1966 en el Royal Albert Hall. Mención especial a las reediciones de la disquera Hyperloop, rescatando tremendas joyitas de las bandas garageras de los 60 The Morning Dew y The Kavaliers. (Foto del podcast; Je'Texas) Playlist; JE’TEXAS “Miss way” (ST, 2023) JE’TEXAS “Hambone” (ST, 2023) JE’TEXAS “Good day” (ST, 2023) ARIZONA BABY “Nightmare in Suburbia” (adelanto próximo álbum) WINTERAFTER “For every soul” (Rivers of memory, 2023) CAT POWER “Like a Rolling stone” (Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert) THE ROLLING STONES “Dreamy skies” (Hackney diamonds, 2023) THE LIQUORICE EXPERIMENT “Pretty baby” (How many lies, 2023) THE GIANT ROBOTS “Do like me” (Fuzz you, 2023) Versión y original; THE UNCALLED FOR “Do like me” (1967) THE MORNING DEW “Go away” (1967, reed 2023) THE MORNING DEW “No more” (1967, reed 2023) THE KAVALIERS “Congragation for anti-flirts INC” (1967, reed 2023) THE KAVALIERS “Pride” (1966, reed 2023) Escuchar audio

The NHL season is under way, viewer questions get weird.....and NHL 24 isn't great.Follow us on Twitter @Tougie24, @EndoMills and @CynFTWProd!Subscribe to the podcast YouTube channel!Check out our Discord!Check out our Patreon for exclusive podcast extras!Check out https://www.manscaped.com/ and use code "TOUGIE" at checkout for 20% off your order and free world wide shipping!

Howard time travels back to one of the most exciting nights in Grateful Dead history, Friday, September 18. 1987. After appearing on Late Night with Dave Letterman the night before, the anticipation for this show was off the charts, Garcia channeled the energy from the boisterous NY crowd and delivered a Morning Dew for the ages!

Johnathon from California Screamo act Shortstop joins us to chat this week.We chat about everything from raw dogging the sun to the stock market, philosophy, warped tour, the spirit of DIY or DIE, Spongebob-Core, Loveseat Tapes, anime, songwriting, committing to whippets, shin guards, mouth guards, dropping the property value, Lin-Manuel Miranda, being about it and walkie-talkies. Fossil Youth, Goldberg, Joyce Manor, Knuckle Puck, Shinguard, Fall Of Troy, Clever Girl, Anxious Arms, Quarter Conscience, Death Grips, Slow Fire Pistol, VS Self, Morning Dew, Parker Luck, See You Space Cowboy, Flowers Taped To Pens, City Of Caterpillar, Drought, Botch, Sunami, Knocked Loose, Merchant Ships, Gwen Stefani, Brokencyde, Hollywood Undead, Bloom Dream, Godfuck and many more

A journey into one of the essential dates of Deadology, September 2, with a focus on the Grateful Dead's first Giants Stadium show in 1978, and their 1980 show in Rochester featuring the immortal Iko Iko > Morning Dew > Sugar Magnolia segment.

One of the best known poets of Revolutionary New England was an enslaved Black girl named Phillis Wheatley, who was only emancipated after she published a book of 39 of her poems in London. Wheatley, who met with Benjamin Franklin and corresponded with George Washington, was the first person of African descent to publish a book in English. Wheatley achieved literary success and helped drive the abolition movement, but she died young and penniless, and many of her poems were lost to history. Joining me to discuss Phillis Wheatley is Dr. David Waldstreicher, Distinguished Professor of History at the City University of New York Graduate Center and author of The Odyssey of Phillis Wheatley: A Poet's Journeys Through American Slavery and Independence. Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode performance is poetry of Phillis Wheatley, read by Laurice Roberts for this podcast; the poems are in the public domain. The music is “Morning Dew” by Julius H. from Pixabay and is used in accordance with the Pixabay Content License. The episode image is a portrait of Phillis Wheatley, possibly painted by Scipio Moorhead, which was used as the frontispiece for her 1773 book, Poems on Various Subjects, Religious and Moral; the portrait is available via the National Portrait Gallery, Smithsonian Institution and is  in the public domain. Additional Sources: “Phillis Wheatley: The unsung Black poet who shaped the US,” by Robin Catalano, BBC Rediscovering America, February 21, 2023. “How Phillis Wheatley Was Recovered Through History,” by Elizabeth Winkler, The New Yorker, July 30, 2020. “The Multiple Truths in the Works of the Enslaved Poet Phillis Wheatley,” by drea brown, Smithsonian Magazine, June 24, 2020. “The Great American Poet Who Was Named After a Slave Ship,” by Tiya Miles, The Atlantic, April 22, 2023. “Phillis Wheatley: 1753–1784,” Poetry Foundation. “Phillis Wheatley: Her Life, Poetry, and Legacy,” by Stephanie Sheridan, National Portrait Gallery Face to Face Blog. Phillis Wheatley Historical Society “Poems on Various Subjects, Religious and Moral,” by Phillis Wheatley, available via Project Gutenberg Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on Trials & Trebuchets, the Students awake to myriad mysteries, greed-fuelled betrayals, early morning symposiums, and subtly veiled threats! Instagram | Twitter | Discord | Patreon | Merch Use code "TRIALS10" to get 10% off dice and accessories at Fanroll Dice! If you enjoyed this episode, tell a friend or leave a rating and review on Apple Podcasts! Birds of a Feather Part 4

Episode 219 features Ron Parfitt from the DIY label Jean Scene in Pittsburgh. He started the label many years ago and has become a big part of the music scene. He primarily makes records and tapes for bands and he also has a 2 day indie music fest on October 13/14 featuring about 30 bands or so. On this episode I featured 2 bands from his label, one is called Split Silk and the song is called Ocean Heart. The other band is Morning Dew and the song is called D.R.E.A.M. Either of which you can check out on Spotify. Big thanks to everyone for listening and supporting local music.      Please rate/follow the show wherever you're streaming. You can also find the podcast on all the socials. -- Podcast merch is available on Shopify. Shopify link -- Part-Time Rockstar Productions is available in the DMV for music videos and live filming.  -- Check out @Truly.strings guitar shop on Instagram. Based in Laurel, MD

Episode 165 of A History of Rock Music in Five Hundred Songs looks at “Dark Stat” and the career of the Grateful Dead. This is a long one, even longer than the previous episode, but don't worry, that won't be the norm. There's a reason these two were much longer than average. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Codine" by the Charlatans. Errata I mispronounce Brent Mydland's name as Myland a couple of times, and in the introduction I say "Touch of Grey" came out in 1988 -- I later, correctly, say 1987. (I seem to have had a real problem with dates in the intro -- I also originally talked about "Blue Suede Shoes" being in 1954 before fixing it in the edit to be 1956) Resources No Mixcloud this week, as there are too many songs by the Grateful Dead, and Grayfolded runs to two hours. I referred to a lot of books for this episode, partly because almost everything about the Grateful Dead is written from a fannish perspective that already assumes background knowledge, rather than to provide that background knowledge. Of the various books I used, Dennis McNally's biography of the band and This Is All a Dream We Dreamed: An Oral History of the Grateful Dead by Blair Jackson and David Gans are probably most useful for the casually interested. Other books on the Dead I used included McNally's Jerry on Jerry, a collection of interviews with Garcia; Deal, Bill Kreutzmann's autobiography; The Grateful Dead FAQ by Tony Sclafani; So Many Roads by David Browne; Deadology by Howard F. Weiner; Fare Thee Well by Joel Selvin and Pamela Turley; and Skeleton Key: A Dictionary for Deadheads by David Shenk and Steve Silberman. Tom Wolfe's The Electric Kool-Aid Acid Test is the classic account of the Pranksters, though not always reliable. I reference Slaughterhouse Five a lot. As well as the novel itself, which everyone should read, I also read this rather excellent graphic novel adaptation, and The Writer's Crusade, a book about the writing of the novel. I also reference Ted Sturgeon's More Than Human. For background on the scene around Astounding Science Fiction which included Sturgeon, John W. Campbell, L. Ron Hubbard, and many other science fiction writers, I recommend Alec Nevala-Lee's Astounding. 1,000 True Fans can be read online, as can the essay on the Californian ideology, and John Perry Barlow's "Declaration of the Independence of Cyberspace". The best collection of Grateful Dead material is the box set The Golden Road, which contains all the albums released in Pigpen's lifetime along with a lot of bonus material, but which appears currently out of print. Live/Dead contains both the live version of "Dark Star" which made it well known and, as a CD bonus track, the original single version. And archive.org has more live recordings of the group than you can possibly ever listen to. Grayfolded can be bought from John Oswald's Bandcamp Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Tuning from "Grayfolded", under the warnings Before we begin -- as we're tuning up, as it were, I should mention that this episode contains discussions of alcoholism, drug addiction, racism, nonconsensual drugging of other people, and deaths from drug abuse, suicide, and car accidents. As always, I try to deal with these subjects as carefully as possible, but if you find any of those things upsetting you may wish to read the transcript rather than listen to this episode, or skip it altogether. Also, I should note that the members of the Grateful Dead were much freer with their use of swearing in interviews than any other band we've covered so far, and that makes using quotes from them rather more difficult than with other bands, given the limitations of the rules imposed to stop the podcast being marked as adult. If I quote anything with a word I can't use here, I'll give a brief pause in the audio, and in the transcript I'll have the word in square brackets. [tuning ends] All this happened, more or less. In 1910, T. S. Eliot started work on "The Love Song of J. Alfred Prufrock", which at the time was deemed barely poetry, with one reviewer imagining Eliot saying "I'll just put down the first thing that comes into my head, and call it 'The Love Song of J. Alfred Prufrock.'" It is now considered one of the great classics of modernist literature. In 1969, Kurt Vonnegut wrote "Slaughterhouse-Five, or, The Children's Crusade: A Duty-Dance with Death", a book in which the protagonist, Billy Pilgrim, comes unstuck in time, and starts living a nonlinear life, hopping around between times reliving his experiences in the Second World War, and future experiences up to 1976 after being kidnapped by beings from the planet Tralfamadore. Or perhaps he has flashbacks and hallucinations after having a breakdown from PTSD. It is now considered one of the great classics of modernist literature or of science fiction, depending on how you look at it. In 1953, Theodore Sturgeon wrote More Than Human. It is now considered one of the great classics of science fiction. In 1950, L. Ron Hubbard wrote Dianetics: The Modern Science of Mental Health. It is now considered either a bad piece of science fiction or one of the great revelatory works of religious history, depending on how you look at it. In 1994, 1995, and 1996 the composer John Oswald released, first as two individual CDs and then as a double-CD, an album called Grayfolded, which the composer says in the liner notes he thinks of as existing in Tralfamadorian time. The Tralfamadorians in Vonnegut's novels don't see time as a linear thing with a beginning and end, but as a continuum that they can move between at will. When someone dies, they just think that at this particular point in time they're not doing so good, but at other points in time they're fine, so why focus on the bad time? In the book, when told of someone dying, the Tralfamadorians just say "so it goes". In between the first CD's release and the release of the double-CD version, Jerry Garcia died. From August 1942 through August 1995, Jerry Garcia was alive. So it goes. Shall we go, you and I? [Excerpt: The Grateful Dead, "Dark Star (Omni 3/30/94)"] "One principle has become clear. Since motives are so frequently found in combination, it is essential that the complex types be analyzed and arranged, with an eye kept single nevertheless to the master-theme under discussion. Collectors, both primary and subsidiary, have done such valiant service that the treasures at our command are amply sufficient for such studies, so extensive, indeed, that the task of going through them thoroughly has become too great for the unassisted student. It cannot be too strongly urged that a single theme in its various types and compounds must be made predominant in any useful comparative study. This is true when the sources and analogues of any literary work are treated; it is even truer when the bare motive is discussed. The Grateful Dead furnishes an apt illustration of the necessity of such handling. It appears in a variety of different combinations, almost never alone. Indeed, it is so widespread a tale, and its combinations are so various, that there is the utmost difficulty in determining just what may properly be regarded the original kernel of it, the simple theme to which other motives were joined. Various opinions, as we shall see, have been held with reference to this matter, most of them justified perhaps by the materials in the hands of the scholars holding them, but none quite adequate in view of later evidence." That's a quote from The Grateful Dead: The History of a Folk Story, by Gordon Hall Gerould, published in 1908. Kurt Vonnegut's novel Slaughterhouse-Five opens with a chapter about the process of writing the novel itself, and how difficult it was. He says "I would hate to tell you what this lousy little book cost me in money and anxiety and time. When I got home from the Second World War twenty-three years ago, I thought it would be easy for me to write about the destruction of Dresden, since all I would have to do would be to report what I had seen. And I thought, too, that it would be a masterpiece or at least make me a lot of money, since the subject was so big." This is an episode several of my listeners have been looking forward to, but it's one I've been dreading writing, because this is an episode -- I think the only one in the series -- where the format of the podcast simply *will not* work. Were the Grateful Dead not such an important band, I would skip this episode altogether, but they're a band that simply can't be ignored, and that's a real problem here. Because my intent, always, with this podcast, is to present the recordings of the artists in question, put them in context, and explain why they were important, what their music meant to its listeners. To put, as far as is possible, the positive case for why the music mattered *in the context of its time*. Not why it matters now, or why it matters to me, but why it matters *in its historical context*. Whether I like the music or not isn't the point. Whether it stands up now isn't the point. I play the music, explain what it was they were doing, why they were doing it, what people saw in it. If I do my job well, you come away listening to "Blue Suede Shoes" the way people heard it in 1956, or "Good Vibrations" the way people heard it in 1966, and understanding why people were so impressed by those records. That is simply *not possible* for the Grateful Dead. I can present a case for them as musicians, and hope to do so. I can explain the appeal as best I understand it, and talk about things I like in their music, and things I've noticed. But what I can't do is present their recordings the way they were received in the sixties and explain why they were popular. Because every other act I have covered or will cover in this podcast has been a *recording* act, and their success was based on records. They may also have been exceptional live performers, but James Brown or Ike and Tina Turner are remembered for great *records*, like "Papa's Got a Brand New Bag" or "River Deep, Mountain High". Their great moments were captured on vinyl, to be listened back to, and susceptible of analysis. That is not the case for the Grateful Dead, and what is worse *they explicitly said, publicly, on multiple occasions* that it is not possible for me to understand their art, and thus that it is not possible for me to explain it. The Grateful Dead did make studio records, some of them very good. But they always said, consistently, over a thirty year period, that their records didn't capture what they did, and that the only way -- the *only* way, they were very clear about this -- that one could actually understand and appreciate their music, was to see them live, and furthermore to see them live while on psychedelic drugs. [Excerpt: Grateful Dead crowd noise] I never saw the Grateful Dead live -- their last UK performance was a couple of years before I went to my first ever gig -- and I have never taken a psychedelic substance. So by the Grateful Dead's own criteria, it is literally impossible for me to understand or explain their music the way that it should be understood or explained. In a way I'm in a similar position to the one I was in with La Monte Young in the last episode, whose music it's mostly impossible to experience without being in his presence. This is one reason of several why I placed these two episodes back to back. Of course, there is a difference between Young and the Grateful Dead. The Grateful Dead allowed -- even encouraged -- the recording of their live performances. There are literally thousands of concert recordings in circulation, many of them of professional quality. I have listened to many of those, and I can hear what they were doing. I can tell you what *I* think is interesting about their music, and about their musicianship. And I think I can build up a good case for why they were important, and why they're interesting, and why those recordings are worth listening to. And I can certainly explain the cultural phenomenon that was the Grateful Dead. But just know that while I may have found *a* point, *an* explanation for why the Grateful Dead were important, by the band's own lights and those of their fans, no matter how good a job I do in this episode, I *cannot* get it right. And that is, in itself, enough of a reason for this episode to exist, and for me to try, even harder than I normally do, to get it right *anyway*. Because no matter how well I do my job this episode will stand as an example of why this series is called "*A* History", not *the* history. Because parts of the past are ephemeral. There are things about which it's true to say "You had to be there". I cannot know what it was like to have been an American the day Kennedy was shot, I cannot know what it was like to be alive when a man walked on the Moon. Those are things nobody my age or younger can ever experience. And since August the ninth, 1995, the experience of hearing the Grateful Dead's music the way they wanted it heard has been in that category. And that is by design. Jerry Garcia once said "if you work really hard as an artist, you may be able to build something they can't tear down, you know, after you're gone... What I want to do is I want it here. I want it now, in this lifetime. I want what I enjoy to last as long as I do and not last any longer. You know, I don't want something that ends up being as much a nuisance as it is a work of art, you know?" And there's another difficulty. There are only two points in time where it makes sense to do a podcast episode on the Grateful Dead -- late 1967 and early 1968, when the San Francisco scene they were part of was at its most culturally relevant, and 1988 when they had their only top ten hit and gained their largest audience. I can't realistically leave them out of the story until 1988, so it has to be 1968. But the songs they are most remembered for are those they wrote between 1970 and 1972, and those songs are influenced by artists and events we haven't yet covered in the podcast, who will be getting their own episodes in the future. I can't explain those things in this episode, because they need whole episodes of their own. I can't not explain them without leaving out important context for the Grateful Dead. So the best I can do is treat the story I'm telling as if it were in Tralfamadorian time. All of it's happening all at once, and some of it is happening in different episodes that haven't been recorded yet. The podcast as a whole travels linearly from 1938 through to 1999, but this episode is happening in 1968 and 1972 and 1988 and 1995 and other times, all at once. Sometimes I'll talk about things as if you're already familiar with them, but they haven't happened yet in the story. Feel free to come unstuck in time and revisit this time after episode 167, and 172, and 176, and 192, and experience it again. So this has to be an experimental episode. It may well be an experiment that you think fails. If so, the next episode is likely to be far more to your taste, and much shorter than this or the last episode, two episodes that between them have to create a scaffolding on which will hang much of the rest of this podcast's narrative. I've finished my Grateful Dead script now. The next one I write is going to be fun: [Excerpt: Grateful Dead, "Dark Star"] Infrastructure means everything. How we get from place to place, how we transport goods, information, and ourselves, makes a big difference in how society is structured, and in the music we hear. For many centuries, the prime means of long-distance transport was by water -- sailing ships on the ocean, canal boats and steamboats for inland navigation -- and so folk songs talked about the ship as both means of escape, means of making a living, and in some senses as a trap. You'd go out to sea for adventure, or to escape your problems, but you'd find that the sea itself brought its own problems. Because of this we have a long, long tradition of sea shanties which are known throughout the world: [Excerpt: A. L. Lloyd, "Off to Sea Once More"] But in the nineteenth century, the railway was invented and, at least as far as travel within a landmass goes, it replaced the steamboat in the popular imaginary. Now the railway was how you got from place to place, and how you moved freight from one place to another. The railway brought freedom, and was an opportunity for outlaws, whether train robbers or a romanticised version of the hobo hopping onto a freight train and making his way to new lands and new opportunity. It was the train that brought soldiers home from wars, and the train that allowed the Great Migration of Black people from the South to the industrial North. There would still be songs about the riverboats, about how ol' man river keeps rolling along and about the big river Johnny Cash sang about, but increasingly they would be songs of the past, not the present. The train quickly replaced the steamboat in the iconography of what we now think of as roots music -- blues, country, folk, and early jazz music. Sometimes this was very literal. Furry Lewis' "Kassie Jones" -- about a legendary train driver who would break the rules to make sure his train made the station on time, but who ended up sacrificing his own life to save his passengers in a train crash -- is based on "Alabamy Bound", which as we heard in the episode on "Stagger Lee", was about steamboats: [Excerpt: Furry Lewis, "Kassie Jones"] In the early episodes of this podcast we heard many, many, songs about the railway. Louis Jordan saying "take me right back to the track, Jack", Rosetta Tharpe singing about how "this train don't carry no gamblers", the trickster freight train driver driving on the "Rock Island Line", the mystery train sixteen coaches long, the train that kept-a-rollin' all night long, the Midnight Special which the prisoners wished would shine its ever-loving light on them, and the train coming past Folsom Prison whose whistle makes Johnny Cash hang his head and cry. But by the 1960s, that kind of song had started to dry up. It would happen on occasion -- "People Get Ready" by the Impressions is the most obvious example of the train metaphor in an important sixties record -- but by the late sixties the train was no longer a symbol of freedom but of the past. In 1969 Harry Nilsson sang about how "Nobody Cares About the Railroads Any More", and in 1968 the Kinks sang about "The Last of the Steam-Powered Trains". When in 1968 Merle Haggard sang about a freight train, it was as a memory, of a child with hopes that ended up thwarted by reality and his own nature: [Excerpt: Merle Haggard, "Mama Tried"] And the reason for this was that there had been another shift, a shift that had started in the forties and accelerated in the late fifties but had taken a little time to ripple through the culture. Now the train had been replaced in the popular imaginary by motorised transport. Instead of hopping on a train without paying, if you had no money in your pocket you'd have to hitch-hike all the way. Freedom now meant individuality. The ultimate in freedom was the biker -- the Hell's Angels who could go anywhere, unburdened by anything -- and instead of goods being moved by freight train, increasingly they were being moved by truck drivers. By the mid-seventies, truck drivers took a central place in American life, and the most romantic way to live life was to live it on the road. On The Road was also the title of a 1957 novel by Jack Kerouac, which was one of the first major signs of this cultural shift in America. Kerouac was writing about events in the late forties and early fifties, but his book was also a precursor of the sixties counterculture. He wrote the book on one continuous sheet of paper, as a stream of consciousness. Kerouac died in 1969 of an internal haemmorage brought on by too much alcohol consumption. So it goes. But the big key to this cultural shift was caused by the Federal-Aid Highway Act of 1956, a massive infrastructure spending bill that led to the construction of the modern American Interstate Highway system. This accelerated a program that had already started, of building much bigger, safer, faster roads. It also, as anyone who has read Robert Caro's The Power Broker knows, reinforced segregation and white flight. It did this both by making commuting into major cities from the suburbs easier -- thus allowing white people with more money to move further away from the cities and still work there -- and by bulldozing community spaces where Black people lived. More than a million people lost their homes and were forcibly moved, and orders of magnitude more lost their communities' parks and green spaces. And both as a result of deliberate actions and unconscious bigotry, the bulk of those affected were Black people -- who often found themselves, if they weren't forced to move, on one side of a ten-lane highway where the park used to be, with white people on the other side of the highway. The Federal-Aid Highway Act gave even more power to the unaccountable central planners like Robert Moses, the urban planner in New York who managed to become arguably the most powerful man in the city without ever getting elected, partly by slowly compromising away his early progressive ideals in the service of gaining more power. Of course, not every new highway was built through areas where poor Black people lived. Some were planned to go through richer areas for white people, just because you can't completely do away with geographical realities. For example one was planned to be built through part of San Francisco, a rich, white part. But the people who owned properties in that area had enough political power and clout to fight the development, and after nearly a decade of fighting it, the development was called off in late 1966. But over that time, many of the owners of the impressive buildings in the area had moved out, and they had no incentive to improve or maintain their properties while they were under threat of demolition, so many of them were rented out very cheaply. And when the beat community that Kerouac wrote about, many of whom had settled in San Francisco, grew too large and notorious for the area of the city they were in, North Beach, many of them moved to these cheap homes in a previously-exclusive area. The area known as Haight-Ashbury. [Excerpt: The Grateful Dead, "Grayfolded"] Stories all have their starts, even stories told in Tralfamadorian time, although sometimes those starts are shrouded in legend. For example, the story of Scientology's start has been told many times, with different people claiming to have heard L. Ron Hubbard talk about how writing was a mug's game, and if you wanted to make real money, you needed to get followers, start a religion. Either he said this over and over and over again, to many different science fiction writers, or most science fiction writers of his generation were liars. Of course, the definition of a writer is someone who tells lies for money, so who knows? One of the more plausible accounts of him saying that is given by Theodore Sturgeon. Sturgeon's account is more believable than most, because Sturgeon went on to be a supporter of Dianetics, the "new science" that Hubbard turned into his religion, for decades, even while telling the story. The story of the Grateful Dead probably starts as it ends, with Jerry Garcia. There are three things that everyone writing about the Dead says about Garcia's childhood, so we might as well say them here too. The first is that he was named by a music-loving father after Jerome Kern, the songwriter responsible for songs like "Ol' Man River" (though as Oscar Hammerstein's widow liked to point out, "Jerome Kern wrote dum-dum-dum-dum, *my husband* wrote 'Ol' Man River'" -- an important distinction we need to bear in mind when talking about songwriters who write music but not lyrics). The second is that when he was five years old that music-loving father drowned -- and Garcia would always say he had seen his father dying, though some sources claim this was a false memory. So it goes. And the third fact, which for some reason is always told after the second even though it comes before it chronologically, is that when he was four he lost two joints from his right middle finger. Garcia grew up a troubled teen, and in turn caused trouble for other people, but he also developed a few interests that would follow him through his life. He loved the fantastical, especially the fantastical macabre, and became an avid fan of horror and science fiction -- and through his love of old monster films he became enamoured with cinema more generally. Indeed, in 1983 he bought the film rights to Kurt Vonnegut's science fiction novel The Sirens of Titan, the first story in which the Tralfamadorians appear, and wrote a script based on it. He wanted to produce the film himself, with Francis Ford Coppola directing and Bill Murray starring, but most importantly for him he wanted to prevent anyone who didn't care about it from doing it badly. And in that he succeeded. As of 2023 there is no film of The Sirens of Titan. He loved to paint, and would continue that for the rest of his life, with one of his favourite subjects being Boris Karloff as the Frankenstein monster. And when he was eleven or twelve, he heard for the first time a record that was hugely influential to a whole generation of Californian musicians, even though it was a New York record -- "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Garcia would say later "That was an important song. That was the first kind of, like where the voices had that kind of not-trained-singer voices, but tough-guy-on-the-street voice." That record introduced him to R&B, and soon he was listening to Chuck Berry and Bo Diddley, to Ray Charles, and to a record we've not talked about in the podcast but which was one of the great early doo-wop records, "WPLJ" by the Four Deuces: [Excerpt: The Four Deuces, "WPLJ"] Garcia said of that record "That was one of my anthem songs when I was in junior high school and high school and around there. That was one of those songs everybody knew. And that everybody sang. Everybody sang that street-corner favorite." Garcia moved around a lot as a child, and didn't have much time for school by his own account, but one of the few teachers he did respect was an art teacher when he was in North Beach, Walter Hedrick. Hedrick was also one of the earliest of the conceptual artists, and one of the most important figures in the San Francisco arts scene that would become known as the Beat Generation (or the Beatniks, which was originally a disparaging term). Hedrick was a painter and sculptor, but also organised happenings, and he had also been one of the prime movers in starting a series of poetry readings in San Francisco, the first one of which had involved Allen Ginsberg giving the first ever reading of "Howl" -- one of a small number of poems, along with Eliot's "Prufrock" and "The Waste Land" and possibly Pound's Cantos, which can be said to have changed twentieth-century literature. Garcia was fifteen when he got to know Hedrick, in 1957, and by then the Beat scene had already become almost a parody of itself, having become known to the public because of the publication of works like On the Road, and the major artists in the scene were already rejecting the label. By this point tourists were flocking to North Beach to see these beatniks they'd heard about on TV, and Hedrick was actually employed by one cafe to sit in the window wearing a beret, turtleneck, sandals, and beard, and draw and paint, to attract the tourists who flocked by the busload because they could see that there was a "genuine beatnik" in the cafe. Hedrick was, as well as a visual artist, a guitarist and banjo player who played in traditional jazz bands, and he would bring records in to class for his students to listen to, and Garcia particularly remembered him bringing in records by Big Bill Broonzy: [Excerpt: Big Bill Broonzy, "When Things Go Wrong (It Hurts Me Too)"] Garcia was already an avid fan of rock and roll music, but it was being inspired by Hedrick that led him to get his first guitar. Like his contemporary Paul McCartney around the same time, he was initially given the wrong instrument as a birthday present -- in Garcia's case his mother gave him an accordion -- but he soon persuaded her to swap it for an electric guitar he saw in a pawn shop. And like his other contemporary, John Lennon, Garcia initially tuned his instrument incorrectly. He said later "When I started playing the guitar, believe me, I didn't know anybody that played. I mean, I didn't know anybody that played the guitar. Nobody. They weren't around. There were no guitar teachers. You couldn't take lessons. There was nothing like that, you know? When I was a kid and I had my first electric guitar, I had it tuned wrong and learned how to play on it with it tuned wrong for about a year. And I was getting somewhere on it, you know… Finally, I met a guy that knew how to tune it right and showed me three chords, and it was like a revelation. You know what I mean? It was like somebody gave me the key to heaven." He joined a band, the Chords, which mostly played big band music, and his friend Gary Foster taught him some of the rudiments of playing the guitar -- things like how to use a capo to change keys. But he was always a rebellious kid, and soon found himself faced with a choice between joining the military or going to prison. He chose the former, and it was during his time in the Army that a friend, Ron Stevenson, introduced him to the music of Merle Travis, and to Travis-style guitar picking: [Excerpt: Merle Travis, "Nine-Pound Hammer"] Garcia had never encountered playing like that before, but he instantly recognised that Travis, and Chet Atkins who Stevenson also played for him, had been an influence on Scotty Moore. He started to realise that the music he'd listened to as a teenager was influenced by music that went further back. But Stevenson, as well as teaching Garcia some of the rudiments of Travis-picking, also indirectly led to Garcia getting discharged from the Army. Stevenson was not a well man, and became suicidal. Garcia decided it was more important to keep his friend company and make sure he didn't kill himself than it was to turn up for roll call, and as a result he got discharged himself on psychiatric grounds -- according to Garcia he told the Army psychiatrist "I was involved in stuff that was more important to me in the moment than the army was and that was the reason I was late" and the psychiatrist thought it was neurotic of Garcia to have his own set of values separate from that of the Army. After discharge, Garcia did various jobs, including working as a transcriptionist for Lenny Bruce, the comedian who was a huge influence on the counterculture. In one of the various attacks over the years by authoritarians on language, Bruce was repeatedly arrested for obscenity, and in 1961 he was arrested at a jazz club in North Beach. Sixty years ago, the parts of speech that were being criminalised weren't pronouns, but prepositions and verbs: [Excerpt: Lenny Bruce, "To is a Preposition, Come is a Verb"] That piece, indeed, was so controversial that when Frank Zappa quoted part of it in a song in 1968, the record label insisted on the relevant passage being played backwards so people couldn't hear such disgusting filth: [Excerpt: The Mothers of Invention, "Harry You're a Beast"] (Anyone familiar with that song will understand that the censored portion is possibly the least offensive part of the whole thing). Bruce was facing trial, and he needed transcripts of what he had said in his recordings to present in court. Incidentally, there seems to be some confusion over exactly which of Bruce's many obscenity trials Garcia became a transcriptionist for. Dennis McNally says in his biography of the band, published in 2002, that it was the most famous of them, in autumn 1964, but in a later book, Jerry on Jerry, a book of interviews of Garcia edited by McNally, McNally talks about it being when Garcia was nineteen, which would mean it was Bruce's first trial, in 1961. We can put this down to the fact that many of the people involved, not least Garcia, lived in Tralfamadorian time, and were rather hazy on dates, but I'm placing the story here rather than in 1964 because it seems to make more sense that Garcia would be involved in a trial based on an incident in San Francisco than one in New York. Garcia got the job, even though he couldn't type, because by this point he'd spent so long listening to recordings of old folk and country music that he was used to transcribing indecipherable accents, and often, as Garcia would tell it, Bruce would mumble very fast and condense multiple syllables into one. Garcia was particularly impressed by Bruce's ability to improvise but talk in entire paragraphs, and he compared his use of language to bebop. Another thing that was starting to impress Garcia, and which he also compared to bebop, was bluegrass: [Excerpt: Bill Monroe, "Fire on the Mountain"] Bluegrass is a music that is often considered very traditional, because it's based on traditional songs and uses acoustic instruments, but in fact it was a terribly *modern* music, and largely a postwar creation of a single band -- Bill Monroe and his Blue Grass Boys. And Garcia was right when he said it was "white bebop" -- though he did say "The only thing it doesn't have is the harmonic richness of bebop. You know what I mean? That's what it's missing, but it has everything else." Both bebop and bluegrass evolved after the second world war, though they were informed by music from before it, and both prized the ability to improvise, and technical excellence. Both are musics that involved playing *fast*, in an ensemble, and being able to respond quickly to the other musicians. Both musics were also intensely rhythmic, a response to a faster paced, more stressful world. They were both part of the general change in the arts towards immediacy that we looked at in the last episode with the creation first of expressionism and then of pop art. Bluegrass didn't go into the harmonic explorations that modern jazz did, but it was absolutely as modern as anything Charlie Parker was doing, and came from the same impulses. It was tradition and innovation, the past and the future simultaneously. Bill Monroe, Jackson Pollock, Charlie Parker, Jack Kerouac, and Lenny Bruce were all in their own ways responding to the same cultural moment, and it was that which Garcia was responding to. But he didn't become able to play bluegrass until after a tragedy which shaped his life even more than his father's death had. Garcia had been to a party and was in a car with his friends Lee Adams, Paul Speegle, and Alan Trist. Adams was driving at ninety miles an hour when they hit a tight curve and crashed. Garcia, Adams, and Trist were all severely injured but survived. Speegle died. So it goes. This tragedy changed Garcia's attitudes totally. Of all his friends, Speegle was the one who was most serious about his art, and who treated it as something to work on. Garcia had always been someone who fundamentally didn't want to work or take any responsibility for anything. And he remained that way -- except for his music. Speegle's death changed Garcia's attitude to that, totally. If his friend wasn't going to be able to practice his own art any more, Garcia would practice his, in tribute to him. He resolved to become a virtuoso on guitar and banjo. His girlfriend of the time later said “I don't know if you've spent time with someone rehearsing ‘Foggy Mountain Breakdown' on a banjo for eight hours, but Jerry practiced endlessly. He really wanted to excel and be the best. He had tremendous personal ambition in the musical arena, and he wanted to master whatever he set out to explore. Then he would set another sight for himself. And practice another eight hours a day of new licks.” But of course, you can't make ensemble music on your own: [Excerpt: Jerry Garcia and Bob Hunter, "Oh Mary Don't You Weep" (including end)] "Evelyn said, “What is it called when a person needs a … person … when you want to be touched and the … two are like one thing and there isn't anything else at all anywhere?” Alicia, who had read books, thought about it. “Love,” she said at length." That's from More Than Human, by Theodore Sturgeon, a book I'll be quoting a few more times as the story goes on. Robert Hunter, like Garcia, was just out of the military -- in his case, the National Guard -- and he came into Garcia's life just after Paul Speegle had left it. Garcia and Alan Trist met Hunter ten days after the accident, and the three men started hanging out together, Trist and Hunter writing while Garcia played music. Garcia and Hunter both bonded over their shared love for the beats, and for traditional music, and the two formed a duo, Bob and Jerry, which performed together a handful of times. They started playing together, in fact, after Hunter picked up a guitar and started playing a song and halfway through Garcia took it off him and finished the song himself. The two of them learned songs from the Harry Smith Anthology -- Garcia was completely apolitical, and only once voted in his life, for Lyndon Johnson in 1964 to keep Goldwater out, and regretted even doing that, and so he didn't learn any of the more political material people like Pete Seeger, Phil Ochs, and Bob Dylan were doing at the time -- but their duo only lasted a short time because Hunter wasn't an especially good guitarist. Hunter would, though, continue to jam with Garcia and other friends, sometimes playing mandolin, while Garcia played solo gigs and with other musicians as well, playing and moving round the Bay Area and performing with whoever he could: [Excerpt: Jerry Garcia, "Railroad Bill"] "Bleshing, that was Janie's word. She said Baby told it to her. She said it meant everyone all together being something, even if they all did different things. Two arms, two legs, one body, one head, all working together, although a head can't walk and arms can't think. Lone said maybe it was a mixture of “blending” and “meshing,” but I don't think he believed that himself. It was a lot more than that." That's from More Than Human In 1961, Garcia and Hunter met another young musician, but one who was interested in a very different type of music. Phil Lesh was a serious student of modern classical music, a classically-trained violinist and trumpeter whose interest was solidly in the experimental and whose attitude can be summed up by a story that's always told about him meeting his close friend Tom Constanten for the first time. Lesh had been talking with someone about serialism, and Constanten had interrupted, saying "Music stopped being created in 1750 but it started again in 1950". Lesh just stuck out his hand, recognising a kindred spirit. Lesh and Constanten were both students of Luciano Berio, the experimental composer who created compositions for magnetic tape: [Excerpt: Luciano Berio, "Momenti"] Berio had been one of the founders of the Studio di fonologia musicale di Radio Milano, a studio for producing contemporary electronic music where John Cage had worked for a time, and he had also worked with the electronic music pioneer Karlheinz Stockhausen. Lesh would later remember being very impressed when Berio brought a tape into the classroom -- the actual multitrack tape for Stockhausen's revolutionary piece Gesang Der Juenglinge: [Excerpt: Karlheinz Stockhausen, "Gesang Der Juenglinge"] Lesh at first had been distrustful of Garcia -- Garcia was charismatic and had followers, and Lesh never liked people like that. But he was impressed by Garcia's playing, and soon realised that the two men, despite their very different musical interests, had a lot in common. Lesh was interested in the technology of music as well as in performing and composing it, and so when he wasn't studying he helped out by engineering at the university's radio station. Lesh was impressed by Garcia's playing, and suggested to the presenter of the station's folk show, the Midnight Special, that Garcia be a guest. Garcia was so good that he ended up getting an entire solo show to himself, where normally the show would feature multiple acts. Lesh and Constanten soon moved away from the Bay Area to Las Vegas, but both would be back -- in Constanten's case he would form an experimental group in San Francisco with their fellow student Steve Reich, and that group (though not with Constanten performing) would later premiere Terry Riley's In C, a piece influenced by La Monte Young and often considered one of the great masterpieces of minimalist music. By early 1962 Garcia and Hunter had formed a bluegrass band, with Garcia on guitar and banjo and Hunter on mandolin, and a rotating cast of other musicians including Ken Frankel, who played banjo and fiddle. They performed under different names, including the Tub Thumpers, the Hart Valley Drifters, and the Sleepy Valley Hog Stompers, and played a mixture of bluegrass and old-time music -- and were very careful about the distinction: [Excerpt: The Hart Valley Drifters, "Cripple Creek"] In 1993, the Republican political activist John Perry Barlow was invited to talk to the CIA about the possibilities open to them with what was then called the Information Superhighway. He later wrote, in part "They told me they'd brought Steve Jobs in a few weeks before to indoctrinate them in modern information management. And they were delighted when I returned later, bringing with me a platoon of Internet gurus, including Esther Dyson, Mitch Kapor, Tony Rutkowski, and Vint Cerf. They sealed us into an electronically impenetrable room to discuss the radical possibility that a good first step in lifting their blackout would be for the CIA to put up a Web site... We told them that information exchange was a barter system, and that to receive, one must also be willing to share. This was an alien notion to them. They weren't even willing to share information among themselves, much less the world." 1962 brought a new experience for Robert Hunter. Hunter had been recruited into taking part in psychological tests at Stanford University, which in the sixties and seventies was one of the preeminent universities for psychological experiments. As part of this, Hunter was given $140 to attend the VA hospital (where a janitor named Ken Kesey, who had himself taken part in a similar set of experiments a couple of years earlier, worked a day job while he was working on his first novel) for four weeks on the run, and take different psychedelic drugs each time, starting with LSD, so his reactions could be observed. (It was later revealed that these experiments were part of a CIA project called MKUltra, designed to investigate the possibility of using psychedelic drugs for mind control, blackmail, and torture. Hunter was quite lucky in that he was told what was going to happen to him and paid for his time. Other subjects included the unlucky customers of brothels the CIA set up as fronts -- they dosed the customers' drinks and observed them through two-way mirrors. Some of their experimental subjects died by suicide as a result of their experiences. So it goes. ) Hunter was interested in taking LSD after reading Aldous Huxley's writings about psychedelic substances, and he brought his typewriter along to the experiment. During the first test, he wrote a six-page text, a short excerpt from which is now widely quoted, reading in part "Sit back picture yourself swooping up a shell of purple with foam crests of crystal drops soft nigh they fall unto the sea of morning creep-very-softly mist ... and then sort of cascade tinkley-bell-like (must I take you by the hand, ever so slowly type) and then conglomerate suddenly into a peal of silver vibrant uncomprehendingly, blood singingly, joyously resounding bells" Hunter's experience led to everyone in their social circle wanting to try LSD, and soon they'd all come to the same conclusion -- this was something special. But Garcia needed money -- he'd got his girlfriend pregnant, and they'd married (this would be the first of several marriages in Garcia's life, and I won't be covering them all -- at Garcia's funeral, his second wife, Carolyn, said Garcia always called her the love of his life, and his first wife and his early-sixties girlfriend who he proposed to again in the nineties both simultaneously said "He said that to me!"). So he started teaching guitar at a music shop in Palo Alto. Hunter had no time for Garcia's incipient domesticity and thought that his wife was trying to make him live a conventional life, and the two drifted apart somewhat, though they'd still play together occasionally. Through working at the music store, Garcia got to know the manager, Troy Weidenheimer, who had a rock and roll band called the Zodiacs. Garcia joined the band on bass, despite that not being his instrument. He later said "Troy was a lot of fun, but I wasn't good enough a musician then to have been able to deal with it. I was out of my idiom, really, 'cause when I played with Troy I was playing electric bass, you know. I never was a good bass player. Sometimes I was playing in the wrong key and didn't even [fuckin'] know it. I couldn't hear that low, after playing banjo, you know, and going to electric...But Troy taught me the principle of, hey, you know, just stomp your foot and get on it. He was great. A great one for the instant arrangement, you know. And he was also fearless for that thing of get your friends to do it." Garcia's tenure in the Zodiacs didn't last long, nor did this experiment with rock and roll, but two other members of the Zodiacs will be notable later in the story -- the harmonica player, an old friend of Garcia's named Ron McKernan, who would soon gain the nickname Pig Pen after the Peanuts character, and the drummer, Bill Kreutzmann: [Excerpt: The Grateful Dead, "Drums/Space (Skull & Bones version)"] Kreutzmann said of the Zodiacs "Jerry was the hired bass player and I was the hired drummer. I only remember playing that one gig with them, but I was in way over my head. I always did that. I always played things that were really hard and it didn't matter. I just went for it." Garcia and Kreutzmann didn't really get to know each other then, but Garcia did get to know someone else who would soon be very important in his life. Bob Weir was from a very different background than Garcia, though both had the shared experience of long bouts of chronic illness as children. He had grown up in a very wealthy family, and had always been well-liked, but he was what we would now call neurodivergent -- reading books about the band he talks about being dyslexic but clearly has other undiagnosed neurodivergences, which often go along with dyslexia -- and as a result he was deemed to have behavioural problems which led to him getting expelled from pre-school and kicked out of the cub scouts. He was never academically gifted, thanks to his dyslexia, but he was always enthusiastic about music -- to a fault. He learned to play boogie piano but played so loudly and so often his parents sold the piano. He had a trumpet, but the neighbours complained about him playing it outside. Finally he switched to the guitar, an instrument with which it is of course impossible to make too loud a noise. The first song he learned was the Kingston Trio's version of an old sea shanty, "The Wreck of the John B": [Excerpt: The Kingston Trio, "The Wreck of the John B"] He was sent off to a private school in Colorado for teenagers with behavioural issues, and there he met the boy who would become his lifelong friend, John Perry Barlow. Unfortunately the two troublemakers got on with each other *so* well that after their first year they were told that it was too disruptive having both of them at the school, and only one could stay there the next year. Barlow stayed and Weir moved back to the Bay Area. By this point, Weir was getting more interested in folk music that went beyond the commercial folk of the Kingston Trio. As he said later "There was something in there that was ringing my bells. What I had grown up thinking of as hillbilly music, it started to have some depth for me, and I could start to hear the music in it. Suddenly, it wasn't just a bunch of ignorant hillbillies playing what they could. There was some depth and expertise and stuff like that to aspire to.” He moved from school to school but one thing that stayed with him was his love of playing guitar, and he started taking lessons from Troy Weidenheimer, but he got most of his education going to folk clubs and hootenannies. He regularly went to the Tangent, a club where Garcia played, but Garcia's bluegrass banjo playing was far too rigorous for a free spirit like Weir to emulate, and instead he started trying to copy one of the guitarists who was a regular there, Jorma Kaukonnen. On New Year's Eve 1963 Weir was out walking with his friends Bob Matthews and Rich Macauley, and they passed the music shop where Garcia was a teacher, and heard him playing his banjo. They knocked and asked if they could come in -- they all knew Garcia a little, and Bob Matthews was one of his students, having become interested in playing banjo after hearing the theme tune to the Beverly Hillbillies, played by the bluegrass greats Flatt and Scruggs: [Excerpt: Flatt and Scruggs, "The Beverly Hillbillies"] Garcia at first told these kids, several years younger than him, that they couldn't come in -- he was waiting for his students to show up. But Weir said “Jerry, listen, it's seven-thirty on New Year's Eve, and I don't think you're going to be seeing your students tonight.” Garcia realised the wisdom of this, and invited the teenagers in to jam with him. At the time, there was a bit of a renaissance in jug bands, as we talked about back in the episode on the Lovin' Spoonful. This was a form of music that had grown up in the 1920s, and was similar and related to skiffle and coffee-pot bands -- jug bands would tend to have a mixture of portable string instruments like guitars and banjos, harmonicas, and people using improvised instruments, particularly blowing into a jug. The most popular of these bands had been Gus Cannon's Jug Stompers, led by banjo player Gus Cannon and with harmonica player Noah Lewis: [Excerpt: Gus Cannon's Jug Stompers, "Viola Lee Blues"] With the folk revival, Cannon's work had become well-known again. The Rooftop Singers, a Kingston Trio style folk group, had had a hit with his song "Walk Right In" in 1963, and as a result of that success Cannon had even signed a record contract with Stax -- Stax's first album ever, a month before Booker T and the MGs' first album, was in fact the eighty-year-old Cannon playing his banjo and singing his old songs. The rediscovery of Cannon had started a craze for jug bands, and the most popular of the new jug bands was Jim Kweskin's Jug Band, which did a mixture of old songs like "You're a Viper" and more recent material redone in the old style. Weir, Matthews, and Macauley had been to see the Kweskin band the night before, and had been very impressed, especially by their singer Maria D'Amato -- who would later marry her bandmate Geoff Muldaur and take his name -- and her performance of Leiber and Stoller's "I'm a Woman": [Excerpt: Jim Kweskin's Jug Band, "I'm a Woman"] Matthews suggested that they form their own jug band, and Garcia eagerly agreed -- though Matthews found himself rapidly moving from banjo to washboard to kazoo to second kazoo before realising he was surplus to requirements. Robert Hunter was similarly an early member but claimed he "didn't have the embouchure" to play the jug, and was soon also out. He moved to LA and started studying Scientology -- later claiming that he wanted science-fictional magic powers, which L. Ron Hubbard's new religion certainly offered. The group took the name Mother McRee's Uptown Jug Champions -- apparently they varied the spelling every time they played -- and had a rotating membership that at one time or another included about twenty different people, but tended always to have Garcia on banjo, Weir on jug and later guitar, and Garcia's friend Pig Pen on harmonica: [Excerpt: Mother McRee's Uptown Jug Champions, "On the Road Again"] The group played quite regularly in early 1964, but Garcia's first love was still bluegrass, and he was trying to build an audience with his bluegrass band, The Black Mountain Boys. But bluegrass was very unpopular in the Bay Area, where it was simultaneously thought of as unsophisticated -- as "hillbilly music" -- and as elitist, because it required actual instrumental ability, which wasn't in any great supply in the amateur folk scene. But instrumental ability was something Garcia definitely had, as at this point he was still practising eight hours a day, every day, and it shows on the recordings of the Black Mountain Boys: [Excerpt: The Black Mountain Boys, "Rosa Lee McFall"] By the summer, Bob Weir was also working at the music shop, and so Garcia let Weir take over his students while he and the Black Mountain Boys' guitarist Sandy Rothman went on a road trip to see as many bluegrass musicians as they could and to audition for Bill Monroe himself. As it happened, Garcia found himself too shy to audition for Monroe, but Rothman later ended up playing with Monroe's Blue Grass Boys. On his return to the Bay Area, Garcia resumed playing with the Uptown Jug Champions, but Pig Pen started pestering him to do something different. While both men had overlapping tastes in music and a love for the blues, Garcia's tastes had always been towards the country end of the spectrum while Pig Pen's were towards R&B. And while the Uptown Jug Champions were all a bit disdainful of the Beatles at first -- apart from Bob Weir, the youngest of the group, who thought they were interesting -- Pig Pen had become enamoured of another British band who were just starting to make it big: [Excerpt: The Rolling Stones, "Not Fade Away"] 29) Garcia liked the first Rolling Stones album too, and he eventually took Pig Pen's point -- the stuff that the Rolling Stones were doing, covers of Slim Harpo and Buddy Holly, was not a million miles away from the material they were doing as Mother McRee's Uptown Jug Champions. Pig Pen could play a little electric organ, Bob had been fooling around with the electric guitars in the music shop. Why not give it a go? The stuff bands like the Rolling Stones were doing wasn't that different from the electric blues that Pig Pen liked, and they'd all seen A Hard Day's Night -- they could carry on playing with banjos, jugs, and kazoos and have the respect of a handful of folkies, or they could get electric instruments and potentially have screaming girls and millions of dollars, while playing the same songs. This was a convincing argument, especially when Dana Morgan Jr, the son of the owner of the music shop, told them they could have free electric instruments if they let him join on bass. Morgan wasn't that great on bass, but what the hell, free instruments. Pig Pen had the best voice and stage presence, so he became the frontman of the new group, singing most of the leads, though Jerry and Bob would both sing a few songs, and playing harmonica and organ. Weir was on rhythm guitar, and Garcia was the lead guitarist and obvious leader of the group. They just needed a drummer, and handily Bill Kreutzmann, who had played with Garcia and Pig Pen in the Zodiacs, was also now teaching music at the music shop. Not only that, but about three weeks before they decided to go electric, Kreutzmann had seen the Uptown Jug Champions performing and been astonished by Garcia's musicianship and charisma, and said to himself "Man, I'm gonna follow that guy forever!" The new group named themselves the Warlocks, and started rehearsing in earnest. Around this time, Garcia also finally managed to get some of the LSD that his friend Robert Hunter had been so enthusiastic about three years earlier, and it was a life-changing experience for him. In particular, he credited LSD with making him comfortable being a less disciplined player -- as a bluegrass player he'd had to be frighteningly precise, but now he was playing rock and needed to loosen up. A few days after taking LSD for the first time, Garcia also heard some of Bob Dylan's new material, and realised that the folk singer he'd had little time for with his preachy politics was now making electric music that owed a lot more to the Beat culture Garcia considered himself part of: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] Another person who was hugely affected by hearing that was Phil Lesh, who later said "I couldn't believe that was Bob Dylan on AM radio, with an electric band. It changed my whole consciousness: if something like that could happen, the sky was the limit." Up to that point, Lesh had been focused entirely on his avant-garde music, working with friends like Steve Reich to push music forward, inspired by people like John Cage and La Monte Young, but now he realised there was music of value in the rock world. He'd quickly started going to rock gigs, seeing the Rolling Stones and the Byrds, and then he took acid and went to see his friend Garcia's new electric band play their third ever gig. He was blown away, and very quickly it was decided that Lesh would be the group's new bass player -- though everyone involved tells a different story as to who made the decision and how it came about, and accounts also vary as to whether Dana Morgan took his sacking gracefully and let his erstwhile bandmates keep their instruments, or whether they had to scrounge up some new ones. Lesh had never played bass before, but he was a talented multi-instrumentalist with a deep understanding of music and an ability to compose and improvise, and the repertoire the Warlocks were playing in the early days was mostly three-chord material that doesn't take much rehearsal -- though it was apparently beyond the abilities of poor Dana Morgan, who apparently had to be told note-by-note what to play by Garcia, and learn it by rote. Garcia told Lesh what notes the strings of a bass were tuned to, told him to borrow a guitar and practice, and within two weeks he was on stage with the Warlocks: [Excerpt: The Grateful Dead, “Grayfolded"] In September 1995, just weeks after Jerry Garcia's death, an article was published in Mute magazine identifying a cultural trend that had shaped the nineties, and would as it turned out shape at least the next thirty years. It's titled "The Californian Ideology", though it may be better titled "The Bay Area Ideology", and it identifies a worldview that had grown up in Silicon Valley, based around the ideas of the hippie movement, of right-wing libertarianism, of science fiction authors, and of Marshall McLuhan. It starts "There is an emerging global orthodoxy concerning the relation between society, technology and politics. We have called this orthodoxy `the Californian Ideology' in honour of the state where it originated. By naturalising and giving a technological proof to a libertarian political philosophy, and therefore foreclosing on alternative futures, the Californian Ideologues are able to assert that social and political debates about the future have now become meaningless. The California Ideology is a mix of cybernetics, free market economics, and counter-culture libertarianism and is promulgated by magazines such as WIRED and MONDO 2000 and preached in the books of Stewart Brand, Kevin Kelly and others. The new faith has been embraced by computer nerds, slacker students, 30-something capitalists, hip academics, futurist bureaucrats and even the President of the USA himself. As usual, Europeans have not been slow to copy the latest fashion from America. While a recent EU report recommended adopting the Californian free enterprise model to build the 'infobahn', cutting-edge artists and academics have been championing the 'post-human' philosophy developed by the West Coast's Extropian cult. With no obvious opponents, the global dominance of the Californian ideology appears to be complete." [Excerpt: Grayfolded] The Warlocks' first gig with Phil Lesh on bass was on June the 18th 1965, at a club called Frenchy's with a teenage clientele. Lesh thought his playing had been wooden and it wasn't a good gig, and apparently the management of Frenchy's agreed -- they were meant to play a second night there, but turned up to be told they'd been replaced by a band with an accordion and clarinet. But by September the group had managed to get themselves a residency at a small bar named the In Room, and playing there every night made them cohere. They were at this point playing the kind of sets that bar bands everywhere play to this day, though at the time the songs they were playing, like "Gloria" by Them and "In the Midnight Hour", were the most contemporary of hits. Another song that they introduced into their repertoire was "Do You Believe in Magic" by the Lovin' Spoonful, another band which had grown up out of former jug band musicians. As well as playing their own sets, they were also the house band at The In Room and as such had to back various touring artists who were the headline acts. The first act they had to back up was Cornell Gunter's version of the Coasters. Gunter had brought his own guitarist along as musical director, and for the first show Weir sat in the audience watching the show and learning the parts, staring intently at this musical director's playing. After seeing that, Weir's playing was changed, because he also picked up how the guitarist was guiding the band while playing, the small cues that a musical director will use to steer the musicians in the right direction. Weir started doing these things himself when he was singing lead -- Pig Pen was the frontman but everyone except Bill sang sometimes -- and the group soon found that rather than Garcia being the sole leader, now whoever was the lead singer for the song was the de facto conductor as well. By this point, the Bay Area was getting almost overrun with people forming electric guitar bands, as every major urban area in America was. Some of the bands were even having hits already -- We Five had had a number three hit with "You Were On My Mind", a song which had originally been performed by the folk duo Ian and Sylvia: [Excerpt: We Five, "You Were On My Mind"] Although the band that was most highly regarded on the scene, the Charlatans, was having problems with the various record companies they tried to get signed to, and didn't end up making a record until 1969. If tracks like "Number One" had been released in 1965 when they were recorded, the history of the San Francisco music scene may have taken a very different turn: [Excerpt: The Charlatans, "Number One"] Bands like Jefferson Airplane, the Great Society, and Big Brother and the Holding Company were also forming, and Autumn Records was having a run of success with records by the Beau Brummels, whose records were produced by Autumn's in-house A&R man, Sly Stone: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Warlocks were somewhat cut off from this, playing in a dive bar whose clientele was mostly depressed alcoholics. But the fact that they were playing every night for an audience that didn't care much gave them freedom, and they used that freedom to improvise. Both Lesh and Garcia were big fans of John Coltrane, and they started to take lessons from his style of playing. When the group played "Gloria" or "Midnight Hour" or whatever, they started to extend the songs and give themselves long instrumental passages for soloing. Garcia's playing wasn't influenced *harmonically* by Coltrane -- in fact Garcia was always a rather harmonically simple player. He'd tend to play lead lines either in Mixolydian mode, which is one of the most standard modes in rock, pop, blues, and jazz, or he'd play the notes of the chord that was being played, so if the band were playing a G chord his lead would emphasise the notes G, B, and D. But what he was influenced by was Coltrane's tendency to improvise in long, complex, phrases that made up a single thought -- Coltrane was thinking musically in paragraphs, rather than sentences, and Garcia started to try the same kind of th

Welcome to our latest episode of peaceful piano music and white noise, designed to help you focus, relax, meditate, and fall asleep. In this episode, we have curated a beautiful collection of gentle piano melodies, complemented by the calming and soothing sounds of white noise that repeats throughout the entire recording.Whether you're looking to concentrate on a challenging task, unwind after a long day, or simply drift off into a peaceful slumber, this episode is the perfect accompaniment for all of your relaxation needs. The combination of the soft piano music and the repetitive white noise creates a tranquil atmosphere that helps to clear your mind of any distractions and promotes deep relaxation.So sit back, close your eyes, and allow yourself to be transported to a place of tranquility and calmness. Let the gentle piano melodies and the soothing white noise guide you towards a state of deep relaxation, where you can let go of any tension, worries, and stress.Whether you're listening during the day or night, this episode is sure to be your go-to source for enhancing your focus, relaxation, meditation, and falling asleep. So, tune in now and experience the rejuvenating benefits of our peaceful piano music and white noise.Music and sound was recorded by Matt Ridenour exclusively for Sleep BetterContact: Email me at sleepbetterpodcast@gmail.com

https://atheopaganism.org/2018/04/22/hows-that-maypole-thing-work/   Remember, we welcome comments, questions, and suggested topics at thewonderpodcastQs@gmail.com. S4E15 TRANSCRIPT:----more----     Yucca: Welcome back to the Wonder Science-based Paganism. I'm one of your host Yucca, Mark: And I'm the other one, mark. Yucca: and today we have another holiday episode, so welcome to the next spring holiday for those of us in the Northern Hemisphere. Mark: Yeah, and of course we're gonna talk about all the different things we might call that holiday. But this, this episode will drop on May day. Which is May 1st and is kind of the traditional day for celebrating this. As always, we view these holidays as more of like, kind of a week window, you know, seven days, give or take. So if you have to do it on a Sunday or on a Saturday, that's all fine. Don't have to be super, super precise about it. Yucca: Right. There's no, you know, cosmic being with a clipboard, keeping track of how on time you were. So, yeah. So, yeah, let's talk about names. So Mayday Beltane is another very common name for it. Mark: Which is a Scottish derivation of what was originally an Irish language word, which is Yucca: Which is the month of May, I Mark: Yes. It's the month of May. Yucca: yeah. So it's the beginning of the celebration of going into, into May what do you call it, mark? Mark: Well, I call it mayday unless you're talking about in the summer, i in the Southern Hemisphere, in which case calling a day in November, mayday is probably counterintuitive. What I call it then instead is  oh, I think it was summer Tide. I think that was it. Yucca: Some are tied. Okay, so you live in the Northern Hemisphere, but if you were in the Southern Hemisphere, that's the name that, that sounds like it Mark: would, that I would use. Yeah. Because obviously it's pretty weird to call something in November, may day.  Yucca: I have. Mark: And the reason that I do that is that I try to avoid all of the cultural names for. The holidays. And the reason for that is that when crafting atheopagan, I deliberately wanted it not to be rooted in any particular cultural tradition. Yucca: Mm-hmm. Mark: I wanted it to be something that was modern and belongs to everybody who chooses to practice it. And that didn't have any cultural appropriation in it. Yucca: Right. Mark: that's, Yucca: And of Mark: why I went that way. Yucca: there are plenty of folks who are atheopagan who do have a really strong tie. To a particular culture and do then apply some of the traditional names from their culture to that. But when you were creating it, you didn't have that tie right. And you wanted to make it so that it was, that it was welcome to everybody, right. That Mark: Right, and well, and, and you need to bear in mind that when I was creating it, I was only creating it for myself. Yucca: Yeah. Mark: It, it, the, the whole idea that this was gonna turn into a movement was really a surprise to me. And I don't have a strong feeling of cultural derivation from anywhere. My antecedents came here 400 years ago, and any englishness that they had has long since been lost. So I just feel like an American settler who doesn't have a claim to being indigenous to this land. But has a primary relationship with this land anyway. So I didn't want to use words like Beltane and SA and those kinds of words because they're derived from other places that I didn't have a, a connection with. Yucca: Right. Mark: So I call it mayday. And then there are the, the variations of beta or bina. Are there any other names that you're familiar with? Yucca: Were you second spring? Yeah, but I haven't, it's not like some of the other holidays that have, you know, 15 different names. Usually I just hear either Mayday or Beltane. Those are the ones that are pretty common. And I'll end up using those. I'm not a particularly verbal person. Right. So I don't really associate the holidays in a strong way with a name. The, I will use names to communicate with other people, but when I'm thinking about it inside of me, I don't think in words. So it, it isn't, it doesn't have that, which is funny because I talk and I write for a living, but, but inside it's, it, none of it is attached to words. It's attached to feelings and to smells and experiences. It's a, it's a very different ex interior experience and it's but it's really about, it's, it's spring is what it really is for me. Right. There's different, we split the year up into eight seasons in my family instead of four seasons. It's really more like, well, there's different ways. There's also, we also split it into two seasons, right? There's summer and winter. There's the, the the hots and the light side of the year, and the cold and the dark side of the year, and then there's the official four seasons of the calendar. But those don't really match with what's happening in our environment. But the eight seem to work a little bit better. And this is sort of the, the midpoint of the second spring, which really is more like the spring that, that most people would picture for a spring. The spring where you have warm days, but little bits of chili nights and the flowers are coming back and the, there's insects. The hummingbirds have just arrived back. Right. So it, it feels very spring now for us. Mark: Great. Yucca: Yeah. Mark: Yeah. I, when it comes to, to seasons, I mean there we have something similar here. We have the gold time and the green time from about July through December is the golden time when all of the hills turned gold because all of the grasses have gone to sea, then died off, and then. When the rains come in the winter everything turns emerald green and it stays that way until about June. Yucca: How beautiful. Mm. Mark: so there's the golden time and the green time. That's one way of dividing the year. And then there's the dark side, dark half and the light half, which. They're sort of offset from the gold time and the the green time. When it comes to four seasons, I really prefer the way that they count them in Ireland, which is that this holiday is the beginning of summer. Yucca: Mm-hmm. Mark: Rather than being the middle of spring, which is how it's figured in the official calendar of the United States. And the main reason for that is that there's all this wonderful early music about May and, and the beginning of summer because that apparently is how it was calculated back in the 16th century and earlier. And I just love singing that stuff. Yucca: And that's what works for that climate too, right? For he here. It really doesn't make sense to say it's the beginning of summer because it's still freezing at night. Right? Mark: Well, and, and for you, I mean, summer is something that's unimaginable in Ireland. It's, it's so much hotter and so much drier than anyone who's never left Ireland has ever seen. Yucca: Yes. I mean, we we're not too bad in terms of the heat, but compared to what, what they experience, it's a completely, it might as well be a different planet. Mark: Mm-hmm. Yucca: Right. Just in terms of how different climates are Mark: So all of this goes to one of the principles, well, no, I won't say principles cuz we've got official 13 principles, blah, blah, blah. One of the ideas that, one of the concepts that that we have in atheopagan, which is adapting your own wheel of the year. I mean, you're, you're hearing from just me and Yucca and tho those are two of, you know, millions of possible different ways of parsing the year, depending on where you live and what's happening in the natural world. So in Yucca: are important to you? Right. Which of those things do you focus on and which things don't matter as much? Mark: Exactly, exactly. So and so, really encourage listeners, you know, if you're in the process of organizing your practice and kind of figuring out how you want to do what you're doing you know, be thinking about that for yourself. You, you can decide for yourself when you think spring starts and when you think summer starts. You can decide what to call the holidays. Yucca: And you can change. Mark: yes. Yucca: if you did something, you came up with, you painted this beautiful wheel and you put these labels on it, and now a few years later you're going, mm, that doesn't really match with what I'm experiencing now or what I'm valuing. You can change, Mark: Yes, that's, that's what post-its are for. Yucca: Yeah, exactly. Mark: So, You know, just to put in, put in a word for people doing their d i y spiritual practice, you know, that is something that's really important in, in Ethiopia, paganism and naturalistic paganism generally, you know, we're not doing this to appease any invisible creatures. Were not doing this to be in conformity with some invisible forces. We're doing this for our own wellbeing and our own happiness and our own celebration and our own wisdom and learning. Right? So that's a thing you can do and really encourage you to, to take that up. What are some other themes that we might talk about for this time of year? Yucca: Well, this time of year often has, is a celebration of sexuality, Mark: Mm-hmm. Yucca: The young adult, the sexuality that that kind of beautiful fertility all of that stuff is, is often a theme that people look at for this time of year. Mark: Right, right. There's that old that old poem. Hooray. Hooray. The 1st of May, outdoor Sex Begins Today. Which of course goes back to the old tradition of going a main because it's finally warm enough that you're not going to freeze to death Yucca: Yeah. Mark: in the forests of Europe. So this was sort of a loophole practice where. Young couples could go into the woods ostensibly to be collecting flowers, right? But the reality was that they were being unchaperoned, and so it was giving them some private time to themselves. One. Story that I've heard. I don't know how true it is, but there's a story that children that were born of mayday couplings were named Greenwood or Green, Yucca: Mm-hmm. Mark: Which I don't know whether it's true or not, but my name is green. It's an interesting story, so I like it. Yucca: Yeah, I've heard that story as well, actually. Yeah. Maybe that's why there's so many greens in the world. Mark: Could very well be because we're not all related with one another. By any means. There are all these independent, freestanding branches of greens out there. Yucca: Mm-hmm. I've always liked color names. Find it very fun, but there's some that you don't see. I, I've never seen purple as a last name for instance, but White, brown, green. Yep. Gray Mark: violet as a, as a Yucca: first name. Yeah.  Mark: The flower, I think, rather than the color. Yucca: mm-hmm. I've known some Indigos as first names as well and some indies, but I'm not sure if those are Henry's. Or if those are, were Indigos, but yeah.  Mark: Never known a yellow. I've never known anybody who was named yellow, either first or last name, Yucca: I don't think I have either. Yeah. Hmm. Mark: and of course you have William of Orange, and you know all those folks. Yucca: Yeah. But I like color names. I love tree names, flower names. Mark: Mm-hmm. Yucca: Yeah. Star names as well. Mark: Yeah. I, I, I like all those natural world names. They, they, they seem, they seem better connected to me somehow. Yeah. So themes, yes. Sexuality is a big one for this time of year. And. It's funny, a member of our community was saying that he was doing Google searches on on Beltane, and he said that all the results that were coming up with were how to celebrate Beltane or mayday without sex. Yucca: Yeah. Mark: this, this sort of overreaction of, you know, and, and I think that some of that is because of the rise of consent culture, that you know, that we want to have comfortable environments where nobody feels pressured to do anything and everything is all, you know, oriented around consent, which of course is what we want. But that Yucca: various ages, right? Mark: right, Yucca: That might not be something that you'd be comfortable bringing your pre-teen to or your, you know, seven year old or something. Mark: Right, exactly. You've got families that are, you know, that still wanna celebrate the holiday and, you know, can maybe incorporate other, you know, sort of quasi sexual themes like fertility, right? Like planting vegetables or, you know, whatever it is.  Yucca: Or flowers, right? Mark: planting flowers, Yucca: Flowers are the reproductive organs for these other beings. Yeah. Mark: explaining how flowers work, why, why flowers exist. Because in the natural world right now, at least in the Northern hemisphere, in most places, it's an orgy going on out there. You've got, you know, all of these, these plants waving their sexy parts at one another and bees busily stir, you know, running around all the pollinators, running around. Yucca: And there's just clouds of pollen. I dunno if this happens where you are, but we'll just see these golden clouds going by of just, and I don't have any allergies, so it doesn't bother me, but I know it makes some people miserable to. Mark: I'm, I'm in. I'm the same way. I don't have allergies either, but particularly when the Acacia here in February and then when the oak trees start to bloom in May, there are people here who are just miserable. Yucca: Yeah. For us it's the Junipers. And then Chaisa, which I think in other areas is called Rabbit Bush. It's this beautiful bush that we have with the golden flowers. Those are the ones that are the worst. And there's isn't really any time of year that in the spring, summer or fall in which there isn't some sort of. Pollen. So it can be kind of a miserable experience for folks who have strong allergies. A lot of people will just be allergic to one particular thing, and then the other ones don't bug them, Mark: Right. So if you are going out to have outdoor sex, first of all, make sure you have privacy. Secondly, take your antihistamine.  Yucca: And maybe something a like a picnic blanket or something like that. Mark: Yeah, because there's all kinds of stickers and bugs and All kinds of stuff. Yeah. So, that's one of the major themes of this time of year. And as you mentioned as I reckon the Wheel of the year, one of the aspects is the, the developing arc of a human life. And so this station on the wheel of the year is that of young adulthood. You know, the, the late teens, early twenties all that sort of passion and juice and fearlessness and cluelessness and and horniness, right? All of those are, you know, things that are right in there with that population of people. And so all of those kind of passionate, creative, colorful, excited kinds of qualities become things that we can fold into our rituals and our celebrations. Yucca: Yeah, it's a fun time of year. Mark: It is. Yeah, it is. It's a great time of year. What else, what are some other themes? I know that you have different sort of families of creatures that you recognize. What is the one for this time of year? Yucca: This is actually the annual plants and the early succession beings. So this really is the, you know, the. Flowers and the grasses and the, you know, things that we think of as weedy species that are coming in when there's been some sort of disturbance that are coming to cover up that bare ground and grow as quick as it can. The dandelions, all of those sorts of things. And that a lot has to do with what's happening in the environment around me. This is when the annuals are That this is when they're starting to grow. This is also when planting is beginning. Right. So for annual gardens it's still, we really shouldn't be putting our annuals out for another week or two cuz we'll still get a frost or so. But you know, this is when the leafy greens can be out. This is when you've got the stuff indoors that, you know, should be our tomatoes are, you know, two feet tall waiting to go out, you know, that kind of thing. So that's, that's the, the big theme for us. And then of course, it's also. There's just, you can finally be all the way out, In the, in the earlier spring you could start getting out, but there'd be days where you couldn't work outside. Now, The wind has died down. We can eat lunch at, we can eat our meals outside every day. It's the back, it's the back outside. It's the, so I guess that is kind of the summer's beginning part for us, even though it's not really summer, but it's the, that part of the year that's the outside part of the year has really begun. Mark: Yeah, and I think that in the historical stuff, that's a lot of what it is. It's like, okay, it's finally okay to go outside again. The weather has eased enough and I mean, you know, you look at Northern Europe and they're definitely still getting freezes at this time of year, but the problem wasn't so much the freezing as it was the snowing or Yucca: The wetness, you know. Mark: Yeah. All that kind of stuff. So, Yeah, I, I think that that whole idea of returning to the outdoors is really kind of bound up in this holiday. We, Yucca: Oh, and all the baby animals are here. Mark: right, right. Yucca: you know, the, the baby animals in terms of the wild ones, but also, you know, the, the calves have been born, the lambs have been born, the little chicks are here. You know, all of that. They're, they're all here. Mark: piglets and all of them. Yeah. Yeah. So it's, it's definitely, you know, a time of year when, you know, this whole reproductive thing is really kind of up. So. So that whole creativity, fertility thing becomes something that you can really fold into your practices and rituals. Because the, I mean, there's lots of ways to do that, right? It doesn't have to only be like physical reproduction. It can be all kinds of creative endeavors that, that bear some kind of fruit, whether it's throwing a pot or painting a canvas, or writing a book, or, you know, Planting a garden, whatever that is. It's still something that feels like a fertile expression. Yucca: Yeah. I, I really appreciate you bringing that up because, Fertility doesn't just have to be a physical, literally reproducing thing that it's a idea that is, is much broader than that. Now, that's a component of it, although funnily enough, this is not human reproductive or this is not our season, right? Humans can be born any time of year, but humans tend to be born in the late summer, early fall for whatever climate they're in that just Mark: sense cuz that's when all the food is available. Yucca: Right. Well, and backtrack to what was happening during what time of year was it when the baby was conceived, you didn't have much else to be doing at the time. Mark: That's right. Yucca: Right. So it makes sense biologically, but it, that's not, it's just very interesting that it, our reproductive cycle isn't matching up with what we see with so much of the rest of nature. Mark: Right, right. Well, and I mean, that gets you into the whole, you know, the mystery of menstruation versus a heat cycle and. You know, those are so different and why are they different? And you know, there's a lot of unanswered questions evolutionarily about why humans are the particular way they are. But we don't have answers to them. So we have conjectures, but that's about it. Yucca: Just pretty interesting ones. Right? And that a lot of that probably has to do with there being so little dimorphism between the sexes Mark: Mm-hmm. Yucca: compared to other other apes and other primates in general. Mark: Mm-hmm. Yucca: So it's a fascinating field. Mark: Yeah. Yeah. That was your tension for today. We hope you enjoyed it. Yucca: Yes. But why don't we talk about some of the. Rituals and practices that we have or ones that we've heard that are quite common, kind of give some inspiration for the folks listening. Mark: Sure. Well, first and foremost, the most famous one, of course is the maple. And the May pole is a big phallic pole stuck in the ground with ribbons, depending down from the top of it. Usually there's some kind of a crown full of flowers that's put over the top that has the ribbons flowing down. And then there's a dance that you do around the may pole, which weaves the ribbons around on the pole, and it's, it's really fun to do. It's a very joyous activity and it results in this very beautiful creation. On the, on the pole. I've danced a lot. I made poles in my time and it doesn't get old. It really, it's just, it's, it's like a spiral dance at, at Hallows. It's just one of those things that's really a beautiful old European tradition that is just, it's a Kuiper. It's, it's one I really like. Yucca: Yeah. We were laughing before, right before hitting play. Cause it's saying that we haven't done one of those in my family and I was imagining what would happen where I think my oldest would be able to do it, but my youngest would think it would be so funny to run the other way and just tie everybody to the pole. The way dogs tie, you know, like will run around a pole on the leash and, you know, tie their human up. I'm. Positive that that's what would happen just almost instantly. So we don't do a pole, but we do take colorful ribbons and tie them into a tree that we have, and we see those ribbons blowing in the wind and fluttering around and it's. It's really very beautiful and it's exciting too to go and tie them and probably some of them are getting snatched by the birds too, to incorporate into their nests, so, Mark: Yeah. That is very consistent with an old Irish tradition, which is the may bush, Yucca: mm-hmm. Mark: In which ribbons are tied into a bush. And there are, there's, there's a wish or something that goes with it. I, I, I don't remember the specific details, but It's a lot of the, the lore there is fairy lore, so it may have something to do with appeasing fairies or something like that, but it's, it's an old tradition that I know some people are still practicing. I. We, my partner Neman, I have done hanging of ribbons in trees before when we haven't had a maple celebration or even when we do, cuz we have these ribbon things that we can hang in trees. Last year, the Northern California Affinity Group for Ethiopia Paganism which calls itself the live oak circle. We had a, a maple without the pole. Yucca: Okay. Mark: we had a, a ring of metal, which was actually from a mason jar. And then we tied our ribbons onto that with a wish for the year. And then holding our ribbons. We danced around in a circle, so it was like, You Yucca: Oh, cool. Mark: spokes on a wheel. Yeah, yeah, it was fun. It was really a fun thing. And I still have the thing with the ribbons on it. It's on my focus right now. And we are meeting tomorrow actually to do a, a real may poll. The couple of members of the, the group got aole and stand for it and all the ribbons and everything. So we'll be doing an actual may pole tomorrow, and I'm excited about that. Yucca: Now I'm remembering some. Did you have a story about a PVC pipe? As a Mark: Oh, yes, that was a problem. Yucca: is that what didn't work out so Mark: No it, it was the, the maple was constructed of one of those heavy cast iron Umbrella stands, outdoor umbrella stands. So that was the stand for it. And then the pole itself was PVC pipe with a, with a wire assembly crown at the top, which had the, the ribbons coming from it. And the problem was that, The tension as people were dancing around and weaving it around, the tension was stronger on one side of the pole than on the other. And so the whole pole began to band over and I ended up having to kind of stand there and hold the thing upright. While people were continuing to dance around it in order for it to work properly. But the next year, the, the same person that had brought that napole had gotten rebar to put inside the pvc. So it didn't do that anymore. Yucca: Alright. Mark: But you know, one of the things that's challenging a about a maple is not everybody has a place to store an eight foot or Yucca: Or, or greater, yeah. Mark: you know, telephone, pole sized pole. Yucca: Mm-hmm. Mark: And so these, you know, using these heavy bases so that the thing doesn't topple over. And then some kind of a rigid e either wood, if you can get a big enough dowel, like a four inch diameter dowel or five inch diameter dow or even P V C will work, but you've gotta put something really solid inside it so it doesn't bend around. Yucca: Yeah, Mark: And it's still fun to dance around. Yucca: I wonder if, you know those basketball hoops that you fill the base up with water? Mark: Yeah. That's a great idea. Yucca: right? You just take the, the hoop off. That might be something. I mean, that's still kind of big to, to store, but it's easier to store that, that you can just leave outside under a tarp or Mark: Well, yeah. Or you put the basketball hoop back on it and shoot basketball. Yucca: That too, right? Mark: yeah, so it, you know, it could be a multi-use kind of thing. Little outdoor exercise and, and then your maple in the spring. That's a great idea. Yucca: Yeah, because there, I mean, it's gonna depend on where you are, but you know. Yeah. Mark: And I wrote a blog post a long time ago called What's Up With That May Poll Thing, or something like that. We'll put a link to it in the show notes. It explains everything you need to know about how to do a May poll ceremony and how the dance works and all that kind of stuff. And trust me as someone who is. For whatever reason, whether it's actually a brain development thing or whether it's a psychological thing incapable of learning dance steps, you can still do this one. All you have to do is just walk and raise the ribbon and then lower the ribbon and raise the ribbon and lower the ribbon. It's, it's really easy to do. Yucca: That's good to hear cuz I am terrible at beats and remembering dance moves and all of that. Okay, well and what about some non maple. Traditions. I know there's giving flowers, baskets of gifts and flowers. Mark: Even just little posey, little bouquets, leaving them on the doorstep of your neighbors is a thing that that is an, an old tradition gathering dew on May morning and washing Yucca: rumor of such a thing. Mark: have you. Yucca: Yes. Do I hear it's moisture or something in the Mark: Oh yes. Well, yeah, you, you, you don't have dew where you are. What you have is very thirsty soil that will suck up any molecule moisture. Yucca: I'm sorry. Continue. Yes. Mark: but anyway, you know, if you're in a place that does have Morning Dew, then you can gather that and wash your face with it. And it's supposed to re pre preserve beauty and. you from aging or something like that? I'm not sure, but it's supposed to be a nice thing to do. Yucca: Mm-hmm. Mark: And it's traditional for Morris dancers in England to dance the sun up on May morning. Yucca: Hmm. Mark: I, on Monday, I'm actually going at five 30 in the morning for our local Morris team to watch them dance up the sun. Yucca: Nice. Mark: Which is, Yucca: that may be when many of you are listening right now, mark is maybe dancing up the sun right now. Mark: that could be, no, I'm not dancing. I'm observing. Yucca: oh, excuse me. Mark: I, I, I tried learning how to Morris dance and I was as bad at that as I was at waltzing, so just didn't work. So, Those are all, and, and actually that's a really wonderful thing cuz you've got, you know, people with the horns and they're clacking them together or sticks or swords or whatever it is. And it all seems very old. Like an old, old tradition. What else? Yucca: Paper flowers, that's one that we do, right? And we put things in our windows because we have a lot of birds around here. And so we put like kind of sticker things. And so in the winter we have paper snowflakes that the kids make and we will be trading those out for paper flowers. And that's just so that the birds don't. Fly in because they have a, a, I'm sure this happens everywhere, but they have a really hard time seeing the windows. So we put little things into the windows so that they know, hey, this is not an open door. You can't fly through it and, you know, smack yourself. So, but paper flowers are just a lot of fun. For that. And all around the house. And that's another great thing to give to neighbors too, is make some cute little paper flowers. And some people do really elaborate, you know, make roses and things like that. We just cut out petals and blue, stick 'em together and, you know, make our pretty, you know, rainbow flower. And this is our all pink flower and our all blue flower. And how does that flower have polka dots? But it does. So. Mark: Yeah, so generally speaking, flowers, ribbons, and expressions of love. Yucca: Yeah. Mark: You just, you, you can't go wrong this time of year with those three things, you know, Yucca: And seeds. Mark: seeds. Yeah, yeah, yeah. That's true. Yucca: So it was just a fun, fun time of year. Mark: It is. Yeah. Yeah. I really enjoy it. Yeah, so I'm excited actually to have a couple of things to do this year. Last year there really wasn't much to do. The community that I used to do a Beltane ceremony with, well, a whole weekend celebration It's kind of having some problems right now, so I'm, I'm staying away. What else were we, I think that may be about it. Yucca: Yeah, I'm sure we'll think of some things as soon as we hit stop, Mark: Right, of course, Yucca: yeah. Mark: as always. But yeah really encourage you to get out of the house and away from the screens at this time of year. You know, go see some nature, go, you know, smell some flowers. There's a lot going on that's really lovely right now. And you know, I, and I hope that you'll have a ample chance to enjoy it because, Like everything, it goes away and then a new cycle has come and there's new stuff to enjoy, but it's not the same. Yucca: Yeah. Well, thank you everyone for joining us. We hope you have a wonderful mayday Beltane second spring summer tide, whatever you call it, and we'll see you next week. Mark: Yeah. Thanks so much everybody, and thank you Yucca.     

Los franceses Les Lullies vienen a presentarnos en exclusiva primicia las canciones de su segundo álbum. “Mauvaise foi” (Slovenly) supone un giro de su sonido punk rocker hacia melodías más luminosas y apostando por su lengua materna, pero sin perder el filo ni la velocidad. Suenan los últimos rescates garageros de Munster Records (rescatando el único single de los angelinos The Pudding Heads) o Hyperloop Recordings (con dos pildorazos de la banda de Kansas The Morning Dew). Anunciamos además los inminentes festivales Ebroclub (Miranda de Ebro) y Beach Riot (Benidorm). Playlist; LES LULLIES “Dernier soir” (Mauvaise foi, 2023) LES LULLIES “Zéro ambition” (Mauvaise foi, 2023) LES LULLIES “Mauvaise foi” (Mauvaise foi, 2023) LES LULLIES “Pas de regrets” (Mauvaise foi, 2023) LES LULLIES “Soirée standard” (Mauvaise foi, 2023) LES LULLIES “When you walk in the room” (Mauvaise foi, 2023) LES LULLIES “Ville Musée” (Mauvaise foi, 2023) THE EXCITEMENTS “We carry a new world” (Keepin’ on, 2021) MICKY Y LOS COLOSOS DEL RITMO “Como ayer” (ST, 2022) THE PUDDING HEADS “Now you say we’re through” (1964, reed 2023) THE MORNING DEW “Go away” (1967, reed 2023) UK SUBS “Teenage” (Brand new age, 1980) THE METEORS “Somebody put something in my drink” (1988) Escuchar audio

NBA no longer to test players for marijuana use and Cubs sign promotional deal with CBD companyIn this podcast episode, Larry Mishkin talks about the Grateful Dead's spring tour of 1983. He shares a clip of Steven Stills from Crosby, Nash, Stills, and Young joining the band on stage on April 16th, 1983, to play "Black Queen." Larry also talks about how Stills had previously played with the Grateful Dead on December 10th, 1969, at the Thelma Theater in Los Angeles, where he performed "Good Morning, Little Schoolgirl," "Morning Dew," and "Black Queen." Produced by PodConx  Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinJay Blakesberg - https://podconx.com/guests/jay-blakesbergRecorded on Squadcast

 Hey Now, this week we'll play the second set from the band's performance on April 7, 1987 at the Meadowlands in New Jersey.  'Box of Rain' is the opener here, a rather unusual choice. A short 'I Need a Miracle' follows into 'Bertha'. 'Ship of Fools' slows things down, but they then go into another crowd favorite, 'Man Smart, Women Smarter' before going into a fairly lengthy drums and Space.  Out of Space, they bridge into 'Gimme Some Lovin' which then segues nicely into a fine 'Morning Dew'. A nice 'Throwing Stones' > 'Not Fade Away' combo closes the set but the band returns for a pleasing rendition of 'The Mighty Quinn'.   Grateful Dead Brendan Byrne Arena East Rutherford , NJ 4/7/1987 - Tuesday Two     Box Of Rain [5:08] I Need A Miracle [3:20] > Bertha [6:23] Ship Of Fools [8:03] Man Smart (Woman Smarter) [7:21] > Drums [10:31] > Space [11:#03] > Gimme Some Lovin' [4:46] > Morning Dew [10:43] > Throwing Stones [8:52] > Not Fade Away [5:02] Encore     The Mighty Quinn (Quinn The Eskimo) [4:21]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod041423.mp3  "Let it shine, let it shine, let it shine... "

This week we move onto the second set from this massive show that took place on March 16, 1973 at the Nassau Coliseum. When you look at the setlist and the timings you might be tempted to think that the first half of the show is just a warm up to the huge Dark Star jam that takes place in set 2, but that would be a mistake. The band screams during these first three numbers in particular! I love the Bertha here, and when Jerry gets to Loser he really lets looks on the 'Sweet Susie'!  The aforementioned Dark Star starts off methodically, but gradually picks up momentum and moves into unfamiliar spaces. The drumming is superb here in my opinion, and when the band finally move back to Earth on 'Truckin' with an explosion of energy you think that surely this must be the finale, but no, a wonderful Morning Dew follows to close the set.      Grateful Dead Nassau Veterans Memorial Coliseum Uniondale, NY 3/16/1973 - Friday Two     The Promised Land [2:51] > Bertha [5:38] > Greatest Story Ever Told [4:57] Loser [6:39] Big River [4:15] Don't Ease Me In [3:06] Me And My Uncle Dark Star [26:30] > Truckin' [8:26] > Morning Dew [11:33] Encore Sugar Magnolia   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod031023.mp3 "at least I'm enjoying the ride"     

In this episode, Alex, Mike, and Ken talk about, CrossFit, athletes, staying back/eligibility, haunted attractions, and Patrick Mahomes' family. Shop Our Merch: https://teespring.com/stores/the-madoians-and-friends-shop Social Media https://www.instagram.com/themadoiansandfriends/ https://www.instagram.com/madoian93/ https://www.instagram.com/mikemadoian5/ https://soundcloud.com/doibeats/sets/the-madoians-and-friends https://www.tiktok.com/@themadoiansandfriends?  

 Here's the second set from the band's performance at Autzen Stadium in Eugene on June 23, 1990.  A rather slow and dreamy 'Eyes of the World' leads us into a great 'Looks Like Rain', Bobby really does it justice here. 'Crazy Fingers' follows and while Jerry's voice is a bit craggy here its still, for me, a pleasure to hear. The band busts it out on the following 'Playin' In the Band' which opens up beautifully into 'Uncle John's Band', then returns for a full-blown 'Playin' Reprise'.  'The Wheel' flows out of space, then after a rocking 'Miracle', Jerry commands us with a powerful 'Morning Dew'.  Being Saturday the obligatory "One More Saturday Night' gets the crowd spinning as the band heads for the exits..    Grateful Dead Autzen Stadium - University of Oregon Eugene, OR 6/23/1990 - Saturday Two Eyes Of The World [15:24] > Looks Like Rain [8:35] > Crazy Fingers [8:24] > Playing In The Band [10:57] > Uncle John's Band % [9:02] > Playing Reprise [2:11] > Drums [8:03] > Space [9:18] > The Wheel [5:32] > I Need A Miracle [5:25] > Morning Dew [10:50] Encore     One More Saturday Night [4:59]     You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod070822.mp3  Thank you for your kind support, and keep a light in your heart during these dark days. 

The Grateful Dead (& the Deadcast) finish the Europe ‘72 tour with 4 rapturous nights at London's Lyceum Ballroom, where they record much of their new live album, including a most psychedelicized tour finale, plus deep dives into “Ramble On Rose,” “Morning Dew,” & other classics.Guests: Sam Cutler, Steve Parish, Alan Trist, David Nelson, Ben Haller, Janet Furman, John Morris, Courtenay Pollack, Allan Arkush, Alex Allan, Andy Childs, Ken Hunt, Chris Jones, Graham Walker, Bill Giles, Derek Gillman, John Kieffer, Jim Smolen, Jeremy Poynton, Volkmar Rupp, David Lemieux, Graeme Boone, Nicholas Meriwether, Stephen GardinerSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.